Doppelganger S
by Rhea's Teleplays
Summary: The crew decide to visit a world of humans that is caught between a 1930's world and technology exceeding the era. A mistaken identity and murderous plots may cost the life of one of them.
1. Teaser

ENTERPRISE

"Doppelgänger"

TEASER

FADE IN:

INT. ARCHER'S QUARTERS

Archer rouses from sleep when Enterprise slows out of warp. He looks out the view port, watching the stars go from blurred streaks to single points of light. Archer turns and taps the companel by the headboard.

ARCHER  
Archer to the bridge.

O'MALLEY'S COM VOICE  
Sir, we have a minor problem. Our  
current heading takes us into  
uncharted space.

ARCHER  
(confused)  
That wasn't supposed to happen  
for another week, Preston. What changed?

O'MALLEY'S COM VOICE  
When we aided the Aæros, it  
brought us closer, Captain. We've  
stopped inside the last charted grid.

Archer lets out a tired sigh.

ARCHER  
I'll be up shortly.

O'MALLEY'S COM VOICE  
Yes, sir.

Archer taps the companel again.

ARCHER  
Archer to T'Pol.

Beat.

T'POL'S COM VOICE  
Yes, Captain?

ARCHER  
T'Pol, didn't you say you were  
given some out-dated star charts  
before we left dock?

T'POL'S COM VOICE  
Yes. I was given many. Why have  
we stopped?

ARCHER  
Ran out of charted space, T'Pol.  
Collect those charts and bring  
them to the situation room. I'll  
meet you there.

T'POL'S COM VOICE  
Should I wake the senior staff?

ARCHER  
No. There's no emergency, let  
them sleep. Meet me in twenty minutes.

Archer gets out of bed and dresses.

CUT TO:

END OF TEASER


	2. Act One

ACT ONE

FADE IN:

(NOTE: Episode credits fall over opening scenes.)

INT. MESS HALL

TRIP walks into the mess hall, fills his tray and joining REED at a table. Trip hungrily dives into his breakfast.

REED  
You're late.

TRIP  
My alarm decided to play hooky.

Reed chuckles, eating a bite of his.

ARCHER'S COM VOICE  
Senior staff report to the  
situation room.

Trip frowns as his food. Reed wipes his mouth, picks up his mug and stands.

REED  
Come on, Trip.

TRIP  
I was really hungry this morning!

REED  
Guess you best have a conversation  
with that alarm of yours then.

Reed starts toward the door. Trip snatches a sausage link and three pancakes off his plate and hurries to catch up with Reed.

CUT TO:

INT. SITUATION ROOM

Archer, T'Pol, Hoshi and Mayweather are gathered in the situation room. Lieutenant O'Malley stands with them, but like T'Pol, he is listening to the idle chat without participation.

The lift opens and Reed and Trip's conversation dies off as the men join the group. Reed sets his mug on the edge of the situation console. Trip is chewing and has a bite of pancake and the sausage link hidden in his hand.

ARCHER  
Morning gentlemen.

Archer turns to the monitor behind him. Trip hastily pops the pancake in his mouth while Archer's back is turned.

REED  
Morning, sir.

TRIP  
(with mouth full)  
Morning, sir.

ARCHER  
We've got a problem this morning,  
ladies and gentlemen.

Trip pops the sausage in his mouth before Archer turns back around. Archer turns to the group, glancing at Trip.

TRIP  
(with food in mouth)  
If it's broken, I'll fix it.

ARCHER  
(smiles)  
It's not broken. We ran out of charted space.

Reed steps closer to the console to look at the star charts Archer pulls up.

REED  
I thought that wasn't going to  
happen for another week?

ARCHER  
When we aided the Aæroes and  
investigated the asteroid field,  
the course changes brought us  
closer, sooner. The Vulcan High  
Command gave T'Pol some old star  
charts, but she doesn't know how  
accurate they are.

TRIP  
(mocking)  
Mean to tell us the Vulcan's  
miffed it, T'Pol?

T'POL  
Most of these charts have not  
been updated in twenty years, Commander.

TRIP  
So the Vulcan's miffed it.

T'Pol doesn't reply. The group chuckles.

ARCHER  
T'Pol, you said you found a  
couple of items of interest.  
Let's see what'cha got.

T'Pol retrieves a 3-D model of three planets to display on the console monitor.

T'POL  
These planets are within ten  
light-years from our current  
position, Captain.

ARCHER  
Was there any information on them?

T'POL  
There is very little reconnaissance  
or other information in the star  
charts, Captain. The Vulcan High  
Command did not anticipate  
Enterprise making it this far  
when they gave me these star charts.

REED  
(quiet, grinning)  
The Vulcan's 'always right'  
record is starting to look shaky.

The humans are amused by Reed's remark. Archer looks at the screen, but the writing is in Vulcan.

ARCHER  
(motions at the monitor)  
So what does all this say?

T'POL  
None of these planets were noted  
for having civilizations with  
advance technology. The nearest  
planet with similar technology to  
ours is thirty-four point six light-years away.

T'Pol browses through several screens as she continues.

T'POL  
Most of the information here has  
very little to do with any of the  
three planets I men--

T'Pol goes back a screen, reading the information on it more carefully.

ARCHER  
What is it, T'Pol?

T'Pol is engrossed in what she's reading. Hoshi leans in and reads the monitor over T'Pol's arm.

HOSHI  
(gasp)  
HUMANS!

ARCHER  
Humans?

T'POL  
Apparently there is a small  
planet in a simple solar system  
sixteen light years from our  
position that is occupied by humans.

ARCHER  
You mean humanoids.

T'POL  
No, Captain,  
(looks at Archer)  
I mean homo sapiens. Humans.

The group is stunned by the information. Hoshi looks back at the monitor.

HOSHI  
They took some surface  
photographs. There are pictures of  
the occupants in here, sir.

ARCHER  
Let's take a look.

T'Pol retrieves several images that resemble early 1890s America.

T'POL  
According to the date of the  
scan, the Vulcans gathered the  
last reconnaissance on this  
planet nineteen years ago. They  
were pre-warp but it is noted  
that they had a unique blend of  
technologies. The list is quite long.

ARCHER  
Set a course for that  
planet. Travis--

T'POL  
Captain, I strongly advise  
against visiting the planet. It  
is safe to assume that their  
technology is still pre-warp.

ARCHER  
Noted. Travis--

T'POL  
It would take us a week and three  
days to reach the planet at warp  
four, Captain, and off our  
current heading.

The new information causes Archer to bridle his excitement.

ARCHER  
Tell us about these other planets, T'Pol.

T'POL  
The nearest--

HOSHI  
Of course, Captain, these three  
other planets have been there  
probably since the Big Bang. I  
bet in another three or four  
weeks, they'd still be there.

REED  
And you haven't asked if these  
other three planets are  
inhabited, sir. She also said  
these three planets were noted as  
not having advanced technology. I  
assume that would mean they too are pre-warp.

Archer smiles.

TRIP  
And you know, this is the first  
planet we've come across that had  
humans since we've been out here,  
Captain. Pre-warp or not.

O'MALLEY  
And it would be in Starfleet's  
best interest to investigate  
another human culture, sir. I'm  
sure Admiral Forrest would agree.

Archer chuckles, nodding.

ARCHER  
Perhaps, Lieutenant O'Malley.  
T'Pol, what information is in  
there about the other three planets?

T'POL  
The first was at the start of an  
ice age twenty years ago. No  
humanoid life was detected. The  
second had humanoid life but  
there are no indications of how  
technologically advance they  
were. There was no sign of animal  
life on the third planet, only plant life.

ARCHER  
Then perhaps... how did you word  
that, Lieutenant O'Malley?

O'MALLEY  
It would be in Starfleet's best  
interest to investigate another  
human culture, sir.

ARCHER  
Yes it would. Travis, set a  
course for that planet.

MAYWEATHER  
Aye, sir.

Mayweather pushes past people as he makes his way out of the situation room.

ARCHER  
You all have work to do and crew  
to tell. Dismissed.

The meeting ends and they depart.

CUT TO:

INT. TRANSPORTER

Archer approaches the transporter, straightening his tie. He is dressed in mid-1920's style clothing. He reaches the transporter where Trip, Hoshi, Mayweather, T'Pol, Reed, Cutler and Novakovich are waiting.

The men are dressed in various mid-1920's style clothing. Reed looks like he has stepped out of a mobster movie. Cutler is dressed in a plain mid-1920's dress.

Hoshi is dressed like a schoolmarm. T'Pol is dressed like a flapper with a deep cloche hat that covers her ears.

Lieutenant Hess is manning the transporter controls.

TRIP  
We've adjusted the transporter so  
two at a time can go down, sir.

Archer eyes the transporter.

ARCHER  
Are you sure you can't calibrate  
the shielding to--

TRIP  
No! How they can have such a  
strange mixture of technology  
down there is beyond me, but for  
the hundredth time, Captain, I  
cannot recalibrate anything on a  
shuttle pod to deflect radar. I  
can make it look smaller, I can  
make it look bigger, I can even  
throw the radar off twenty  
kilometers, but I cannot make it  
disappear comin' from outer  
space. We'll be lucky if they  
don't detect Enterprise or us  
transporting to the surface.

ARCHER  
(under his breath)  
I hate transporters.  
(to the away team)  
Okay, team, for the most part it  
looks like we'll step right into  
the nineteen twenties down there.  
They do have a strange mixture of  
technologies, so don't act  
surprised. Keep contact to a  
minimal. Understood?

The away team nods.

Trip steps onto the transporter pad and turns. Archer steps on with him.

HESS

Ready, sirs?

ARCHER  
No... but go ahead.

HESS

(smiles)

Energizing. Bring me a souvenir, Captain.

Archer closes his eyes.

CUT TO:

EXT. EMPTY CONTSTRUCTION LOT - DAY

Archer opens his eyes, looking up at a brilliant blue sky and clouds. The lot is surrounded by a six-foot privacy fence with a gate at the far end. The remaining away team materializes around them.

HOSHI  
This way, Captain.

Hoshi starts walking.

ARCHER  
First names, Hoshi.

HOSHI  
Yes, si... Jonathan.

The group exits the lot.

CUT TO:

EXT. CITY STREET - DAY

The away team walks along down the sidewalk with Hoshi leading the way.

ARCHER  
How did you find out about this  
parade, Hoshi?

Archer slides his hands in his pants pockets.

HOSHI  
It's just like home with all the  
radio stations, sir. It's been  
talked about a lot.

ARCHER  
And what is it celebrating?

HOSHI  
I have no a clue, si... Jonathan.

A woman on her porch waves when Archer looks in her direction. He returns the gesture.

TRIP  
I wonder if their first car  
manufacturer was named Ford too.

The group chuckles.

ARCHER  
That would be ironic, wouldn't it?

CUTLER  
This street reminds me of home.

ARCHER  
(looking back at her)  
How's that?

CUTLER  
I grew up in a small town. One  
stop light and all. There were  
people around there that still  
had fossil fuel vehicles. They  
absolutely refused to get them  
converted no matter what the  
registration fees were.

TRIP  
I knew a few people like that  
back home.

HOSHI  
(points down the street)  
I would say the floating...  
thingy, would be a good sign  
that's where the parade is.

TRIP  
(leans over her shoulder)  
And no parade is complete without  
a floating thingy, is it?

The away team reaches the parade route and stops at the back of the crowd to watch.

CUT TO:

INT. KOLIN'S BOAT - BRIDGE - DAY

KOLIN is Trip's twin. He stands at the wheel of his small cargo boat. He has a full bearded and simple, wire framed sunglasses. He's wearing a T-shirt, shorts and sandals and his arms are a deep tan. This is the kind of person Trip would have become had it not been for Starfleet. Ahead of him is open ocean and calm waters.

Below he can hear his wife humming to a song on the radio and occasionally she sings a verse or two. He smiles every time she does. It's the smile of man that is deeply in love with his wife and her little habits.

There is a counter behind him and two metal brackets hold a device to it. The starts beeping. Kolin taps an autopilot button near the boat's wheel and walks over to the instrument.

The instrument is clearly of Ferengi design with Ferengi writing and symbols on the touch controls. Kolin leans over it, tapping the screen a couple times. His brow continues to crease as he watches the readings.

Below his wife sprints onto the deck with a cup of coffee in hand. AMALY is Cutler's spitting image and is wearing a man's shirt that comes down to mid-thigh and nothing else. She wheels around the corner of the stairs leading to the bridge. She sets the cup on the counter and hugs Kolin viciously. Kolin puts his arm around her shoulders, returning the hug with an added kiss.

AMALY  
Morning, sweetheart.

KOLIN  
How'd you sleep, angel?

AMALY  
Like a baby.

The device makes several noises, drawing Kolin's attention back to it. Amaly lays her head on Kolin's chest, looking at the device.

AMALY  
What's it say?

Kolin shakes his head.

KOLIN  
Not a clue, yet, honey.

AMALY  
You should take it back to the  
manufacturer, you know. You  
should have gotten a manual with  
it. Breakfast?

KOLIN  
I already ate.

AMALY  
I'm making pancakes.

Kolin looks at her, smiling.

KOLIN  
Blueberry?

AMALY  
Of course.

KOLIN  
I'll have two.

Kolin pulls Amaly close, placing a deep kiss on her lips. For a moment the two are still while they hold onto one another.

AMALY  
I love you Kolin.

KOLIN  
I love you too, angel.

Amaly suddenly spins out of his arms and sprints below deck. Kolin laughs, watching her. His smile vanishes as soon as she's out of sight and he turns back to the instrument. His face shows growing concern as it continues to give readouts.

CUT TO:

EXT. CITY STREET - MOMENTS LATER

Officer Dorian Samuel -- a tall, lean man -- and his partner, Officer Jeo Zimmerman -- a short, stout man and Samuel's junior -- are walking their patrol beat along the back of the parade spectators.

ZIMMERMAN  
So you comin' over for cards  
'morrow night?

SAMUEL  
Mayhap. Sara's tryin' to 'suade  
me in ta goin' with her to the  
folks this weekend.

ZIMMERMAN  
Ya ain't, are ya?

SAMUEL  
I dunno.

Samuel looks down the crowd. He trips and stops, staring at someone.

ZIMMERMAN  
What's wrong, Sam?

SAMUEL  
Give me the vid pad, Jeo.

Samuel holds out his hand. Zimmerman retrieves a device from a pocket and hands it to Samuel. Samuel opens it, waiting for a computer-enhanced image to appear on the screen of the device.

COMPUTER  
State authentication.

SAMUEL  
Samuel, Dorian. Third rank.  
Authenticating. Al pike five one  
niner. Authenticate.

COMPUTER  
Authentication accepted. Proceed  
Officer Samuel.

SAMUEL  
Transmitting command. Pull mug  
shot and all info on Haeri Two  
Scars, a.k.a. Haeri Swank, a.k.a.  
Will DeFranco, a.k.a. Tony Striden.

The graphic begins processing the command.

Zimmerman looks at all the faces nearby, stopping as soon he spots Archer. He sidles up to Samuel, waiting for the computer to finish working.

COMPUTER  
Command complete.

The data appears on screen and includes a mug shot of Archer's twin, Haeri Swank. The two police officers exchange a concerned look.

ZIMMERMAN  
(in denial)  
No, Sam. No. That ain't him.  
Haeri Two Scars is dead. Him  
gettin' bumped has been the buzz  
all mornin'. All reports said he  
died in that explosion that took  
out his warehouse on the east  
side. Sam, they found his body  
and the dentals matched!

SAMUEL  
Okay. So let's go over there and  
see if that's his good twin. Just  
start saying prayers he isn't  
Haeri Two Scars and doesn't start  
shootin' into the crowd like he  
did at the Rushe Freedom Day  
parade just to keep from being  
booked and walked.

They stare at each other while Zimmerman decides what he's going to do.

ZIMMERMAN  
Alright. Let's check it out. We  
need backup though. He's bound to  
have some of his boys here if it's him.

SAMUEL  
(to vid pad)  
Samuel to HQ.

A woman appears. She's gnawing on a piece of chewing gum while doing her nails and smiles at the Samuel.

STEPH  
Samy! How's the kids' float look?  
Did we do good or what?

SAMUEL  
Yeah. You guys did a swell job  
Steph. Steph, we need back up to  
meet us at Wikens and Yabaro.  
Officers need assistance in a  
capture and detain.

Steph begins working something off screen.

STEPH  
Who's the unlucky guy or gal?

SAMUEL  
Haeri Two Scars.

Steph's gum falls out of her mouth and her nail file softly CLANGS on the counter top. Steph pops her gum back in her mouth.

STEPH  
The dead gangster boss, Haeri Two  
Scars?

SAMUEL  
(nods)  
That's him. And he don't look so  
dead, Steph. Call backup, okay?

STEPH  
Awright. All officer in the  
vicinity of sector twelve report  
to the corner of Wikens and  
Yabaro. Offers require assistance  
in a capture and detain of an  
armed suspect. Repeat, officers  
require assistance at the corner  
of Wikens and Yabaro. HQ out.  
(to Samuel)  
Hey, you boys be careful, Samy.  
Don't wanna attend another  
funeral this week, okay? Those  
are real downers, guys!

SAMUEL  
We will be, Steph. Samuel out.  
(looks at Zimmerman)  
Get down there and meet 'em, Jeo.  
I'm going to keep my eye on him  
in case he makes a move.

Zimmerman runs off to obey.

CUT TO:

EXT. CITY STREET - MOMENTS LATER

A Parishal Man approaches Hoshi. He's wearing a rumpled suit, a dirty overcoat and large dark lens glasses.

Hoshi grabs Reed's arm, pointing at a passing float.

HOSHI  
LOOK!

Parishal Man steps up next to Hoshi.

PARISHAL MAN  
I heard silk is horrible for hemming.

Hoshi looks at the Parishal Man.

HOSHI  
I beg your pardon?

PARISHAL MAN  
I heard silk is horrible for hemming.

HOSHI  
I wouldn't know. I don't sew.

Cutler grabs Hoshi's arm.

CUTLER  
Look at that one, Hoshi!

The Parishal Man starts to speak. Someone touches his arm and he turns, staring at Hoshi twin. This is his contact ORELA. The man looks back and forth at the two.

PARISHAL MAN  
What the--

ORELA  
Not here. Come on.

Orela leads him away to a doorway and turns to face him.

ORELA  
And we use rayon thread.

PARISHAL MAN  
You're my contact?

ORELA  
Yes. Do you have it or not?

Parishal Man hands over a package.

PARISHAL MAN  
Who is that?  
(motions to Hoshi)  
She looks like your twin.

ORELA  
(cool smile)  
I'm an only child. Must be my clone.

Orela hands him a thick envelope.

ORELA  
Beat it.

The Parishal Man runs off. Orela slips the package in her purse, staring at Hoshi. She hears a police WHISTLE and watches policemen running toward the away team. Orela turns and slips into the crowd.

MATCH CUT:

EXT. CITY STREET

ARCHER  
I like this--

Archer is cut off when two pairs of hands grab him and throw him to the ground. Samuel and Zimmerman pin Archer to the ground. Samuel reaches for a pair of handcuffs on his belt.

SAMUEL  
Haeri Two Scars, you are under arrest.

ARCHER  
I'm not Haeri Two Scars!

GUNSHOTS began firing and the crowd panics. Samuel is knocked off of Archer. Novakovich helps Archer to his feet and the away team runs into the crowd. Samuel pursues alone. More GUNSHOTS panic the crowd even more.

SAMUEL  
STOP!

ARCHER  
(to his crew)  
Split up!

T'POL  
If we split up--

ARCHER  
They're only after me. Pair off  
and go in separate directions and  
then rendezvous at the  
transporter site. GO! NOW!

They pair off: Hoshi and Cutler turn into an alley, Archer and Novakovich run across the street into an alley, Reed, T'Pol, Mayweather and Trip continue running down the street.

EXT. CITY STREET

Archer and Novakovich run down several streets, losing the police and becoming lost.

EXT. WHORF - MOMENTS LATER

Archer and Novakovich run out from between buildings, finding themselves on a dock facing an ocean.

ARCHER  
This way.

The two jog along the dock. Around a corner they come face to face with Samuel and Zimmerman. The two policemen are standing behind the doors of their car, aiming through open windows.

SAMUEL and ZIMMERMAN  
FREEZE!

Archer and Novakovich obey, raising their hands. Samuel slowly moves around the door.

SAMUEL  
Don't either of you boys move.  
Get on your knees and put your  
hands on the back of your heads.

Samuel pulls his handcuffs off his belt.

GUNFIRE starts raining down on the policemen who take cover behind their car and return GUNFIRE. Archer and Novakovich jump behind several stacks of pallets, landing on their stomachs.

Archer's communicator flies out of his pocket and he grabs for it. His fingertips brush it and it flies over the edge of the dock. Archer pulls himself up behind the pallets. Novakovich cowers beside him.

NOVAKOVICH  
(slight stutter)  
Sir, I've changed my mind. I  
don't want to take Lieutenant  
O'Malley's place on this away mission.

Archer doesn't reply.

The GUNFIRE stops. They hear voices getting closer but can't distinguish what's being said. One is getting closer. Darik steps around the pallets, carrying a hand gun. Archer and Novakovich instinctively raise their hands.

DARIK  
Boss.

Archer and Novakovich stare at the man.

DARIK  
Boss, come on. We gotta scram  
before the fuzz get here.

Darik holsters his gun and holds his hand out to Archer.

ARCHER  
B-Boss?

DARIK  
Somethin' wrong Boss?

ARCHER  
Who...  
(beat)  
Who's Boss?

DARIK  
Boss, I wish I could be like you.  
Get shot at and still jokin'  
'round. You are Boss. Always you, Boss.

ARCHER  
I'm Boss?

DARIK  
(concerned)  
Yeah. You ain't jokin', is you?  
You get cold cocked or somethin', Boss?

Darik leans over, peering into Archer's face.

ARCHER  
Yes.

Archer stands up and steps back onto the dock. Novakovich is much more timid about coming out.

ARLO  
Hey Boss.

Archer looks in ARLO's direction. Arlo, Cevin and another mobster-looking man are standing around Samuel and Zimmerman's bodies.

ARLO  
What should we do with the fuzz  
here, Boss? Dump 'em in the river  
or bury 'em in the dump? The  
other fuzz are bound ta start  
lookin' for 'em.

Archer can't take his eyes off the dead policemen. He looks half sick and doesn't reply.

ARLO  
Boss? You okay? You look kinda white.

DARIK  
Boss got cold cocked, fellas. I  
think he's a little balled up right now.

ARLO  
Oh. We'll clean it up, Boss.  
Cevin, get the Boss back and let  
Jisyca patch 'im up.

Cevin, a teen wearing a rumpled but expensive suit, walks up to Archer. He pinches the sleeve of Archer's coat.

CEVIN  
What's with these old rags, Boss?

Archer looks down at his plain clothes and at the mobsters' expensive suits.

ARLO  
A disguise, Cevin. Boss was  
running from the fuzz. Couldn't  
ya see that?

CEVIN  
Of course! Good thinkin' Boss. We  
was told you was dead. I think  
Taunyo's planning on moving in on  
our gigs, Boss.

DARIK  
Stop jawin' his ear off Cevin.  
You's the driver, not the Boss's shrink.

Archer starts walking when Cevin pulls on his arm. He stops short.

ARCHER  
Nathan.

Archer turns to look for Novakovich. Novakovich is staring at the dead men like it's the first time he's ever seen a dead man or blood.

CEVIN  
Who is this guy, Boss? He looks like a real book-worm.

ARCHER  
He's a friend.

CEVIN  
(clapping Novakovich's shoulder)  
Any friend of the Boss's, is a  
friend of mine.

Novakovich angrily pushes Cevin's hand away. Cevin looks surprised.

OTHER MOBSTER  
Cevin!

CEVIN  
(less energetic)  
Come on Boss. We need ta get  
outta here before the fuzz get  
wind'a this.

Cevin walks to a car and opens the back door for Archer.

ARCHER  
Come on, Nathan.

Archer and Novakovich get into the car. Cevin gets behind the wheel and drives away.

CUT TO:

INT. SWANK BEDROOM - NIGHT

T'Pol's blond-haired, human twin, JISYCA Swank, enters the room wearing a teddy that hardly covers her. Waiting in her bed is Admiral Luc VIGNAND, Reed's twin. He has a neatly trimmed goatee and is watching Jisyca walk toward him. She crawls across the bed to him and the two tangle around one another as they began kissing.

A video monitor across the room beeps, but neither respond to it. It beeps again and they pull apart.

VIGNAND  
Don't answer it.

Jisyca starts kissing him again. The monitor beeps a third time. Jisyca gets up and storms over to it. She jams her finger on a control and the screen changes to show Cevin in the car. Jisyca's eyes widened only a moment and then she smiles.

JISYCA  
Cevin... how are things going darling?

VIGNAND  
(whisper)  
Darling?

CEVIN  
We just picked up Haeri, ma'am.  
We just cleared him of the fuzz  
and we're headed back to the  
house now. We'll be there in ten  
minute, ma'am.

Jisyca forces a brighter smile.

JISYCA  
I'll make sure supper's ready.  
Thank you for calling a head Cevin.

Cevin looks at the monitor and winks, adding a flirtatious smile. Jisyca smiles, tapping the control. She spins around.

JISYCA  
Get out!

Vignand gets up and walks up to her, laying his hands on her arms.

VIGNAND  
It couldn't be your husband. He's dead.

JISYCA  
Get. Out! If it is Haeri and he  
finds you here, that will make  
things unnecessarily complicated.  
GET OUT!

Vignand walks over to his clothes piled on the floor and dresses. He glances at her as he leaves. Jisyca lets her worry show once he's gone.

CUT TO:

END OF ACT ONE


	3. Act Two

ACT TWO

FADE IN:

INT. SWANK RESIDENCE - DAY

Cevin pulls up to a large, two story house. The house has well-cared for grounds. Two or more cars are parked in front of the house and most of the lights are on inside. Cevin gets out and walks around, opening Archer's door. Archer and Novakovich step out, staring at the house.

JISYCA (O.S.)  
HAERI!

Jisyca is dressed in a tight dress that is as skimpy as the time allows. She looks like a 'floozy' and has a high-pitched, irritating voice. She's the kind of woman that puts her nose in everyone's business and is very controlling.

She hides her ability to manipulate behind her seduction and air-headed behavior. To her deceased husband she was merely a trophy wife and he believed she had less control of matters than she did.

Jisyca hugs Archer, mauling him with kisses.

JISYCA  
They said you was dead, baby! I'm  
so glad you're alive.

ARCHER  
I'm not.

JISYCA  
Not what, baby?

ARCHER  
(beat)  
Dead. I'm not dead.

JISYCA  
(bats Archer's shoulder)  
Oh Haeri! You shoulda called as  
soon as you was in the clear!  
We've been trying to figure what  
to do since we were told you was dead.

BOY 1 (O.S.)  
DADDY!

BOY 2 (O.S.)  
DADDY!

Archer turns toward the voices. Two boys run up to him, hugging him. Archer slowly puts his arms around them.

ARCHER  
Hello...  
(beat)  
boys.

JISYCA  
Boys? You never call them that.

CEVIN  
He got cold cocked, Mrs. Swank.  
He's havin' a hard time remember  
much. Probably just needs some of  
your doctorin'.

ARCHER  
You're Jisyca? My wife?

JISYCA  
Oh my. You don't remember me?  
Maybe we should get the doctor to  
look you over, baby.

ARCHER  
No. I'm sure I'll remember  
everything sooner or later.

NOVAKOVICH  
It was the explosion, ma'am. He  
hit his head pretty hard.

JISYCA  
Oh. And you are?

Jisyca extends a hand to Novakovich.

NOVAKOVICH  
Nathan N... Norton. Nathan  
Norton.

Jisyca quickly pulls her hand away.

JISYCA  
Nathan Norton? I've never met you before.

ARCHER  
He's from out of town.

JISYCA  
Oh. Let's go inside, baby. Just  
got dinner put on. Then we'll  
take a look at that head of yours.  
(sideling up to Archer)  
In private.

ARCHER  
(nervously)  
In private.

Jisyca slides her arm around Archer's, turning her back on Novakovich. She leads Archer into Haeri Swank's world.

CUT TO:

EXT. ALLEY - EARLIER

Trip, Mayweather, T'Pol and Reed are running through alley after alley, but the sound of pursuing policemen doesn't fade far. They run into an alley that has a stair case with trash and boxes under it.

They HEAR the commotion of approaching policemen from the opposite END OF the alley. The four stop, the men looking panicky in both directions.

T'POL  
(motioning under stairs)  
Under here.

MAYWEATHER  
I'm not--

Reed grabs Mayweather's arm and pulls him under the stairs. Reed turns back to T'Pol.

REED  
There isn't enough room under  
here for all of us, T'Pol.

T'POL  
You two must hide. Hurry.

T'Pol looks around the alley for another hiding place. Trip grows frantic as the sound of the policemen grows closer. T'Pol turns, watching Trip for a moment. She grabs the front of his shirt, slams him against the stairs and presses her lips to his.

Trip, surprised at first, tries to push her off. He quickly relaxes into her kisses, wrapping his arms around her and pulling her closer.

Two sets of policemen enter the alley from both directions and meet in the middle, several feet from Trip and T'Pol.

PARISHAL OFFICER 1  
Did you see them?

PARISHAL OFFICER 2  
No. They didn't come this way.

PARISHAL OFFICER 1  
Search everywhere.

Parishal Officer 1 and 3 start back down the alley. The tension rises the closer they come to the four crewmen. Reed and Mayweather press into the shadows under the stairs. The two stop behind T'Pol and Trip. Parishal Officer 1 clears his throat but it elicits no response from either Vulcan or human.

PARISHAL OFFICER 3  
Hey. You two.

The two don't stop kissing. Parishal Officer 1 taps T'Pol's shoulder and is ignored.

PARISHAL OFFICER 1  
These two are so busy cashing  
that they wouldn't'a noticed a  
bomb detonating. Come on.

The two officers continue down the alley. The alley becomes quiet again. Reed and Mayweather relax.

MAYWEATHER  
(to Reed)  
That was too close, sir.

REED  
Yes. A little too close.  
(to Trip and T'Pol)  
They're gone. Can you two move?

The two continue kissing.

MAYWEATHER  
Hey, they've left. You can stop now.

The two don't stop. Mayweather and Reed look at each other. Reed gets up and squeezes past them. Mayweather squeezes out of the hiding spot too.

Reed leans close to the two, so close that the two finally do notice him. An impish grin settles on his lips.

REED  
We really need our senior science  
officer and chief engineer back.  
Perhaps the two of you could  
discuss this matter in depth in  
one of your quarters at a later date?

Trip and T'Pol quickly separate. Trip tries to conceal his embarrassment.

T'POL  
My apologies, Commander. The lack  
of places to hide left no other option.

TRIP  
(flustered)  
Oh... no... uh... I... uh... I  
understand. It worked too. They left.

MAYWEATHER  
Can we go now? Before they think  
to check here again.

T'Pol removes a scanner from her purse and turns.

T'POL  
We've ran nearly six kilometers  
from our transporter location. It  
would be best to find a secluded  
location and transport from  
there. There is one this direction.

T'Pol and Trip start walking. Reed pulls Mayweather back.

REED  
(ornery)  
Yes. By all means, we should find  
a secluded location, shouldn't we Travis?

MAYWEATHER  
(grins)  
We might have to stand watch  
while Lieutenant Hess calibrates  
the transporter for the new  
location. That'll take ten  
minutes at least. That should  
give these two enough time to  
finish that discussion.

Trip and T'Pol stop and look back at the two.

TRIP  
Stop. Both of you.

REED  
Alright. Lead us to a secluded  
location, T'Pol.

T'Pol turns and leads the way. Reed and Mayweather follow behind her, snickering. Trip trails behind so no one sees him smiling from pleasure.

CUT TO:

EXT. ALLEY - EARLIER

Cutler and Hoshi are running from two policemen and the policemen are gaining.

CUTLER  
Oh no.

Hoshi turns her head. A car has stopped at the END OF the alley. Inside we can see the form of the driver, Orela, lean over the back seat and push open the back door.

ORELA  
HURRY UP!

The two women run to the car and dive into the back seat. Orela drives away, tossing the women around the backseat. GUNFIRE breaks the back window, showering glass down on the two women.

A sharp turn throws the women in a pile against the door and the car jerks to a stop. Orela leaps out and runs to the garage door, pulling it closed.

INT. GARAGE - DAY

Very little lights come through the dirty windows high on the garage walls and door. The sound of police cars sirens draw close and then speed past. There is a brief silence that follows.

Hoshi and Cutler move apart, but do not get off the floor of the car. They hear footsteps cross a cement floor, lights come on in the garage, and footsteps come closer to the car.

The back door of the car is thrown open and it's the first time the two women see Orela's face.

CUTLER  
(whisper)  
She... Hoshi?

ORELA  
I'm not Hoshi. I'm Orela.

HOSHI  
I'm Hoshi.

ORELA  
You two almost got bumped off.  
What I find even more interesting,  
however, is the fact that you two  
are leached onto a dead man. Wanna  
give me the low down on how Haeri  
Two Scars is a walking, breathing corpse?

HOSHI  
Ha-Haeri?

ORELA  
The guy the police tried to  
arrest that you were with.

HOSHI  
(shaking head)  
His name's Jonathan Archer. He's  
my... uhm...

CUTLER  
Boss. He's our boss.

ORELA  
So then you two's mols.

HOSHI  
What's a mol?

ORELA  
Gangster dames. Like the two of you.

HOSHI  
Gang-- NO! We aren't mols and we  
don't have anything to do with  
gangs. He's not a boss like that.

ORELA  
(amused)  
Well, seems we have some  
confusion here, ladies. You're my  
twin, but you're not. I'm an only  
child. Your boss who you claim  
isn't Haeri Two Scars, looks  
identical to Haeri Two Scars and  
you claim he's not a mafia boss  
but he's your boss. You ladies  
appear to be a bit confused.

Hoshi and Cutler exchange concerned looks.

CUTLER  
She has the confused bit right.

CUT TO:

INT. SWANK BEDROOM - NIGHT

Novakovich is alone in a bedroom watching a television. The door opens and he turns off the television as he turns toward it. Archer slips in, looking back down the hall before shutting the door. He's gripping a rolled up newspaper in his hand. He turns to Novakovich.

ARCHER  
Please tell me you have your  
communicator, Nathan.

NOVAKOVICH  
It's busted, sir. I think it  
happened when we dove behind the  
crates. You don't have yours?

ARCHER  
No. It fell off the dock during  
the gunfight. Do you think you  
can fix yours? I can fix scanners  
in a heartbeat, but not communicators.

NOVAKOVICH  
I'll try, sir, but what if I  
can't fix it.

ARCHER  
You know the answer to that, Nathan.

Novakovich nods. The two men sit down in chairs, perplexed.

ARCHER  
What a mess I've gotten us into.

NOVAKOVICH  
It wasn't your fault, sir.  
Besides, we don't want that getting back to T'Pol.  
(smiles)  
I wonder what a gloating Vulcan  
looks like.

Archer smiles.

NOVAKOVICH  
Maybe we can get back to the  
rendezvous spot, sir. I'm sure  
they'll be monitoring it.

ARCHER  
I tried that already. I can't get  
anyone convinced to take us back  
to the parade route even.

NOVAKOVICH  
Do you at least know why they  
keep calling you Boss?

Archer hands him the newspaper. Novakovich unrolls it. The heading is about the dead mobster boss Haeri Two Scars and includes a picture of Archer and Jisyca.

NOVAKOVICH  
Oh shit.

ARCHER  
My thoughts exactly.

NOVAKOVICH  
You want to see something worse?

ARCHER  
I don't know if I can handle  
something worse.

Novakovich gets up and turns the television back on. The scene on it starts out with a view on the crowd with a voice-over of a man delivering a speech in an alien language.

The view changes to show the speaker at a podium. The speaker is Vignand. He is dressed in army fatigues and has a neatly trimmed goatee. On his left hip he wears a holster with a nickel plated hand pistol.

The speech continues for a couple minutes ending in the crowd cheering Vignand's name.

NOVAKOVICH  
What are the chances, sir, that  
the first planet we come across  
that has humans also has twins of  
you and Lieutenant Reed.

ARCHER  
Who's to say we're the only ones, Nathan?

Jisyca enters the room unnoticed.

ARCHER  
There could be a twin of everyone  
on Enterprise here.

JISYCA  
On Enterprise?

The men turn.

ARCHER  
How long have you been standing there?

JISYCA  
Long enough that I want to know  
what twins you're talking about  
and where is this Enterprise?

ARCHER  
We were philosophizing. Nathan  
was explaining a fascinating theory.

JISYCA  
Philosophizing what?

Archer has no answer.

NOVAKOVICH  
Chaos theory.

Jisyca and Archer look at him.

JISYCA  
Chaos theory?

NOVAKOVICH  
Yes. Chaos theory. See, the basic  
concept of chaos theory is that  
anything can happen from a single  
events or decision and if  
repeated, then the action created  
may cause different results. I  
believe that if that's true, were  
we to find the twin of ourselves  
that exist on this planet, we  
could then perhaps manipulate  
that person so we could literally  
be in two places at once and  
consequently affecting events in  
our favor. This would be an enterprise.

JISYCA  
(throws hands up)  
Not another one!

ARCHER  
Another one what?

Jisyca approaches Archer, laying her hands on his chest.

JISYCA  
Baby, we have control of over  
three quarters of the bootleg  
operations. You own all the back  
room casinos across New Delta.  
Please, please, don't go looking  
into another harebrained idea  
for more scratch. The last time  
you spent a couple million on  
some bushwa idea of time travel  
before you found out that the man  
wasn't a scientist and you had to  
bump him off. While it was a very  
educational experience for the  
boys, you don't need another  
hair-brained idea, baby. We're  
doing just fine. Please, baby,  
let's just bump this one off and  
get on with our lives. I don't  
trust him. He's taking advantage  
of your memory loss.

Archer gapes, voiceless for a moment.

ARCHER  
We were just philosophizing,  
sweetheart. I've known Nathan for  
quite a while. I trust him.

JISYCA  
How come you've never told me  
about him?

ARCHER  
I'm telling you about him now.

JISYCA  
(frustrated)  
Fine. But you're not spending any  
more than five hundred on this  
philosophy of his.

Jisyca heads toward the door.

ARCHER  
Five hundred.

JISYCA  
Thousand, baby. No more than five  
hundred thousand.

ARCHER  
Yes. Of course.

JISYCA  
Come to bed soon, baby. I'm tired.

Jisyca exits the room.

NOVAKOVICH  
That is one cold--

ARCHER  
Yes she is. I wonder if the couch  
is comfortable.

NOVAKOVICH  
Maybe. Captain, we have got to  
get back to Enterprise.

ARCHER  
I know, Nathan, but I don't know  
how. I can only hope T'Pol can  
fix this mistake. Why did I think  
this would be such a great idea,  
Nathan? This has turned into a complete nightmare.

NOVAKOVICH  
Captain, it's okay. This wasn't  
your fault. A case of mistaken  
identity and that's all. This  
will sort itself out.

ARCHER  
(smiles)  
Been taking optimism lessons from Trip, huh?

NOVAKOVICH  
Yes. And I know I'll fix this  
communicator. I won't quit until  
its working. It just may take me a while.

Beat.

NOVAKOVICH  
T'Pol wouldn't leave without us, would she?

ARCHER  
(scoff)  
And risk possibly contaminating a  
pre-warp civilization? Not a  
chance. She'd collect every piece  
of our bodies before she left,  
right down to each eyelash.

The two men laugh, relaxing a little.

INT. SWANK HALL - NIGHT

Jisyca is leaning against the door frame, listening to Archer and Novakovich. When their conversation stops she looks away toward the stairs. She hurries downstairs.

INT. SWANK KITCHEN - NIGHT

Jisyca walks into the kitchen, finding several of the mobsters and Cevin playing a card game at the table. She walks up, watching.

JISYCA  
Cevin, I need some help in the  
parlor. Do you mind?

Cevin sets his cards down and the two leave. The others watch them go and then exchange knowing grins.

INT. SWANK PARLOR - NIGHT

Jisyca and Cevin walk into the parlor and Jisyca turns to Cevin. Cevin wraps his arms around her and she slaps him, stepping away.

JISYCA  
What are you doing?

CEVIN  
I thought... Well... I

JISYCA  
You're not paid to think, Cevin.  
Now shut up and listen to me.  
There is something not right  
about my husband or that fella  
you brought back with him. I want  
you watching him like a garil.  
Don't you take your eyes off him  
once, let him out of your sight,  
or leave him alone with anyone.  
Especially if that person's name  
is T'Pol. You tell me everything  
he does and says. Understand?

CEVIN  
Won't he get sort of suspicious  
of that around the house?

JISYCA  
Not around the house, Cevin. I  
can handle that. When you and the  
boys go out to collect or do  
business you stick to him. Understand me?

CEVIN  
Yes, Jisyca.

Jisyca slaps him hard.

JISYCA  
Mrs. Swank, Cevin. Don't forget it.

Jisyca storms out of the room.

CUT TO:

END OF ACT TWO


	4. Act Three

ACT THREE

FADE IN:

INT. ORELA'S KITCHEN - NIGHT

Hoshi, Cutler and Orela enter through the back-door into the kitchen. Orela removes her jacket and begins preparing supper.

JACQUE (O.S.)  
Orela? Is that you?

ORELA  
(to Hoshi and Cutler)  
That's my roommate.

Jacque bounces into the kitchen. She is a vibrant blond wearing something similar to a kimono. She retrieves a glass of milk, oblivious of the two.

CUTLER  
She...

ORELA  
What?

Jacque takes notice of the two.

JACQUE  
Hey, she looks like you Orela!

ORELA  
I know. I found them at the parade today.

CUTLER  
You look like T'Pol. If she were--

Hoshi elbows Cutler in the ribs.

JACQUE  
Jacque.  
(shakes the women's hands)  
Lieutenant-Commander Jacque Grace. And you two are?

HOSHI  
Hoshi.

CUTLER  
Elizabeth.

JACQUE  
So. Who's T'Pol? And where'd she  
come up with a name like that?

HOSHI  
She's a friend.

JACQUE  
She as gorgeous as me?

Jacque fluffs her hair and bats her eye lashes.

ORELA  
(chiding)  
Commander Grace, I'm sure she's  
as gorgeous as you if she looks like you.

HOSHI  
(with head in hands)  
This is insane.

JACQUE  
Are you okay, dear? You look  
pale. Here, sit down.

Jacque takes Hoshi's arm and guides her to a chair.

HOSHI  
No. I'm not okay.

ORELA  
So, your boss's name is Jonathan Archer, huh?  
(to Jacque)  
This boss of theirs must be Haeri  
Two Scars' twin, Jac, cuz he's  
his spitting image.

JACQUE  
What are you two petite things  
doing hanging around with Two  
Scars? What he have on you two  
little bunnies?

HOSHI  
(forcefully)  
His name is Jonathan Archer. He  
is our Ca...boss. Okay? Got that?

JACQUE  
(offended)  
Yeah. Okay. So what are you two  
doing messed up with the mob  
anyway? You look smarter than that.

HOSHI  
(tired, frustrated)  
We are not IN the mob. Okay? We  
aren't in the mob, Jonathan  
Archer is NOT this Haeri Two  
Scars, Orela looks like me and we  
don't know why, and you look like  
a friend of ours! There! Okay?  
That's it! There's nothing more  
to it! How hard is this!?

A long silence.

JACQUE  
(to Orela)  
Call me when supper's ready.  
(cool)  
Just remember, Hoshi, that some  
skeletons in the closet can kill you.

Jacque leaves the kitchen. Hoshi puts her face in her hands again. Cutler leans over, putting her arm around her friends shoulder to reassure her.

CUT TO:

INT. SITUATION ROOM

The bridge crew is staring at the view monitor that's playing the same broadcast of Vignand, but the translator is translating what's he's saying in English.

Vignand's speech is reminiscent of Adolf Hitler's speeches during Earth's World War II. Trip, Reed and T'Pol are gathered around the console.

REED  
I'm... he's... an Admiral.

The speech ends and the screen goes back to a view of the planet. Reed looks at the console.

TRIP  
T'Pol, don't you have any ideas  
on how to find them?

T'POL  
I have not devised a method to  
locate our captain and missing crewmen.

TRIP  
There's gotta be something.

On the bridge, Ensign Shipper is at the communications console. He sits up and looks back at the situation room.

SHIPPER  
Sub-Commander, I'm picking up a  
transmission. It has our signature.

T'POL  
Put it through. This is T'Pol.

HOSHI'S COM VOICE  
Oh God it's great to hear your  
voice, T'Pol!

TRIP  
How are you? WHERE are you?

HOSHI'S COM VOICE  
We're fine, but I don't know  
where we are. Elizabeth is with  
me. We ran into a couple twins.

TRIP  
Seems to be an epidemic down  
there, Hoshi. Malcolm and the  
Captain have twins down there too.  
(to Ensign Shipper)  
Can you lock onto her location?

SHIPPER  
Working on it, sir.

HOSHI'S COM VOICE  
Did you know that the Captain's  
twin is a mob boss?

TRIP  
Yeah. We found that out.  
Malcolm's is a Hitler-type admiral.

HOSHI'S COM VOICE  
Hurry. Someone's coming. Hurry, guys.

SHIPPER  
Almost have it, Hoshi.

HOSHI'S COM VOICE  
Trip, hur--

SHIPPER  
I lost the signal, sir.

TRIP  
Were you able to triangulate the signal?

SHIPPER  
No.

TRIP  
Hail her.

T'POL  
Commander, she was apparently  
afraid. If she discontinued  
contact to hide, you may give  
their position away.

TRIP  
Belay that, Ensign.

Trip puts his hands on his hips, looking more frustrated.

CUT TO:

INT. SWANK BEDROOM - DAY

Archer is buttoning his shirt in front of a floor mirror. In the mirror's reflection he watches the door open and Jisyca swishes in with her hands held behind her back. Tension builds. Archer slowly pulls the tie off the mirror and attempts to tie it, keeping his eyes on Jisyca.

JISYCA  
You didn't come to bed last night.

Archer doesn't reply. He's having difficulty tying his tie.

JISYCA  
The boys are waiting downstairs for you.

ARCHER  
They're good kids.

JISYCA  
I meant your boys-- Darik, Cevin,  
the others. Not my boys.

Jisyca brings her hand around. Archer relaxes a little when he sees her hands are empty. Jisyca steps in front of him, taking the tie from him.

JISYCA  
You never could tie a tie correctly.

ARCHER  
Maybe I should learn.

Jisyca watches Archer's eyes while she ties the tie.

JISYCA  
You need me, Haeri, know that? To  
fix your ties, your books, make  
sure hits go through... You need me, Haeri.

Archer watches her. Jisyca tightens the tie very snug under Archer's Adam's apple. He grabs her hands to keep her from tightening it further.

JISYCA  
The arms shipment is coming in  
tonight, Haeri. Lots of scratch  
is riding on it. Let me handle  
it. They may not be comfortable  
with how you're behaving right now.

Archer pries Jisyca's hands away from the tie and retreats a step.

ARCHER  
You don't strike me as the type  
of person Har-- I want to let  
handle a deal so big, Jisyca.

JISYCA  
Jisyca is it? Have you really  
lost so much interest in me I'm  
not even sweetheart anymore?

The two exchange a long, tense stare. Archer reaches round her, slowly pulling his suit coat off the mirror.

ARCHER  
I have to go have breakfast and  
get to work.

JISYCA  
Go. Have breakfast. Talk shop  
with the boys. This afternoon we  
could go to a picture show, huh?  
Just you and me. Like in the old days.

There's a knock on the door and Novakovich enters. Jisyca glares at him.

NOVAKOVICH  
Ca-- Boss. The boys are waiting  
downstairs for you. They sent me  
to get you.

Archer pulls his coat on as he and Novakovich exit the room into the hall.

INT. SWANK HALL

The two men walk down the hall. They talk in hushed voices.

NOVAKOVICH  
What was happening in there?

ARCHER  
Please tell me you have the communicator working.

NOVAKOVICH  
No, sir. I'm still working on it,  
Captain. I only have outdated  
tools and I haven't had time to  
get away from the people in this  
house. What was going on, sir? It  
didn't look good.

ARCHER  
I, or Haeri rather, was being  
threatened. You have got to fix  
that communicator, Nathan. I want  
out of this house and to put a  
solar system between that woman  
and me. I have never, in my life,  
met a woman so cold, detached and  
ruthless as that thing is.

NOVAKOVICH  
Thing, sir?  
(smiles)  
You must really hate her to call her a thing.

ARCHER  
She doesn't have a heart or a  
soul, Nathan. She's a thing.

NOVAKOVICH  
Glad to see you still have your  
sense of humor, sir.

ARCHER  
Have to keep that, Nathan. We  
have to keep that. Where the hell  
is the dining room?

NOVAKOVICH  
(laughs)  
This way, sir.

Archer glances back as they turn a corner. Jisyca is standing in the door, watching them.

CUT TO:

EXT. WAREHOUSE - DAY

A car stops and Jisyca gets out of it. She walks into the warehouse at a fast walk.

INT. WAREHOUSE - DAY

Jisyca walks to the stairs and trots up them to an office. She crosses the walk in front of it, seeing Vignand sitting behind a desk in a leather desk chair. Jacque sits on the arm of the chair with her arms around Vignand.

She is whispering in his ear, running a long fingernail up and down his cheek. The two look up when Jisyca storms into the room.

JISYCA  
He's alive. You said you killed him!

Vignand motions Jacque away. She gets up and leaves the office.

VIGNAND  
Who is alive?

Jisyca slams her hands down on the desk in front of Vignand.

JISYCA  
How much did he pay you? I'll  
double whatever he paid you to  
have him killed. I WANT HIM DEAD, LUC!

VIGNAND  
I'm afraid I don't know who  
you're talking about.

Jisyca shoves everything on Vignand's desk off. She reaches across the desk, grabs his tie and yanks him halfway across.

JISYCA  
(narrows eyes)  
My husband is alive, Vignand. And  
to make matters worse, some bookworm  
tagged along and I think he's the  
reason my husband is alive and  
has been confusing my dear Haeri.  
I overheard them talking about  
some strange things last night  
and this morning Haeri was still  
acting strange. He called me sweetheart.  
The last time he called me  
sweetheart was before he was  
known as Haeri Two Scars across  
five provinces. How could you  
have futzed this up so bad? I'm  
not paying you the rest. You  
didn't even complete the job!

Vignand tries to pull Jisyca's hand away. When she doesn't let go he slaps her, the force of the hit knocking her off her feet. He stands up and walks around his desk, straightening his tie.

Vignand grabs Jisyca by the arms and throws her into a chair. He pins her there by leaning on her with all his weight and stares into her eyes.

VIGNAND  
One, Mrs. Swank, you do not come  
into my office, interrupt a  
meeting and threaten me.  
(roughly gives her a solid shake)  
I don't tolerate that well. Do we  
understand one another on that?

JISYCA  
(growls)  
Yes.

VIGNAND  
Second, I did kill your husband.  
They retrieved his body. His  
dental records matched! The only  
explanation is that this man that  
appears to be your dear, departed  
Haeri, is not.

Vignand grabs Jisyca by the back of the neck and pulls her to her feet, pulling her close.

VIGNAND  
Regardless, he and his friend are  
dead. Consider it a bonus for the  
other payment installments you've  
been delivering behind your husband's back.

Vignand presses his lips to Jisyca's. She wraps her arms around him and the two become more intimate.

CUT TO:

INT. TRANSPORTER

Reed and Trip are getting ready to return to the surface.

T'POL (O.S.)  
Commander Tucker.

REED  
(under his breath to Trip)  
Oops. Forgot the departing kiss.

Trip shoots a wrathful glance at Reed. Reed steps onto the transporter, laughing quietly. Trip turns to T'Pol.

TRIP  
Yeah?

T'POL  
You need to postpone your return  
to the surface.

TRIP  
T'Pol, we gotta go look for the  
Captain and the others.

T'POL  
Hoshi has been detecting scans  
from the surface and they have  
increased in number after your  
last transport from the surface.  
Someone knows we are here and is tracking us.

TRIP  
T'Pol, we have to go to the  
surface. All them humans down  
there have the same bio-signature  
as us. The only way to find them  
is to look.

T'POL  
If you go, you will be stuck on  
the surface until the scans cease  
or you find our crew.

TRIP  
T'Pol--

T'POL  
Commander, we have contaminated  
this civilization enough as it  
is. If you leave, you will remain  
until you find them.

TRIP  
That could be days.

T'POL  
Then perhaps you should take survival gear.

REED  
I can't believe this. T'Pol, we  
can't stay down there for several  
days. We'd certainly be discovered then.

T'POL  
Then you need to wait until the scans cease.

REED  
And we can't leave our captain  
and crew down there either.

T'POL  
These are the only options available.

TRIP  
No. The other option is if we  
don't find them today, you  
transport us back to Enterprise.  
Scans or no scans.

T'POL  
That is not an option.

Trip looks at Reed.

TRIP  
What do you want to do, Malcolm?

REED  
Rescue my captain and crew  
against a Vulcan's recommendation.

T'POL  
I did not--

TRIP  
(to T'Pol)  
Don't call us, we'll call you.

Trip and Reed step onto the transporter.

T'POL  
Report in three hours.

Trip and Reed start to transport off Enterprise.

TRIP  
Yeah, okay, mom!

The two men's laughter fades quickly as they're transported. T'Pol's eyebrow lifts slightly.

FADE OUT.

END OF ACT THREE


	5. Act Four

ACT FOUR

FADE IN:

EXT. CITY STREET - DAY

Trip stops Parishal people on the street, showing them pictures of the missing crewmen. The people shake their heads and keep walking.

Across the street PARISHAL OFFICER 4 and 5 watch him, eating sandwiches and sipping their sodas.

PARISHAL OFFICER 4  
What ya think he's doin'?

PARISHAL OFFICER 5  
I dunno.

Reed runs around the corner and up to Trip. He talks to him, pointing back around the corner. The two turn and run in the direction Reed came from.

PARISHAL OFFICER 4  
Well, guess we'd better go check it out.

The two officers throw their trash in a bin and jog after the two. They spot the two talking to a man. Reed looks up, sees the officers coming and says something that makes Trip turn around. The two watch the officers approach, looking both guilty and suspicious of them.

PARISHAL OFFICER 5  
Gentlemen.

TRIP  
Officers.

PARISHAL OFFICER 5  
What's going on, boys?

TRIP  
We're looking for someone.

PARISHAL OFFICER 5  
Really? We can help in that area. Who is it?

TRIP  
My family. They ditched me, us.  
We're trying to find them so we can go home.

PARISHAL OFFICER 5  
You don't live in New Delta?

TRIP  
No.

PARISHAL OFFICER 4  
Where do you live?

TRIP  
Outside the city. In the country. East.

PARISHAL OFFICER 4  
You live east of the city?

TRIP  
Yeah.

PARISHAL OFFICER 4  
So you live in the ocean, since that's east.

TRIP  
Yeah. I mean no. I mean...  
(smiles nervously)  
I get all mixed up when I get in the city.

The Parishal Officer 5 looks at Reed.

PARISHAL OFFICER 5  
And who are you?

REED  
Family.

PARISHAL OFFICER 5  
You two look nothing alike.

REED  
By marriage.

PARISHAL OFFICER 5  
Uh-huh. So, your family have a name, boys?

TRIP  
Yeah.

Beat.

PARISHAL OFFICER 4  
And their name would be?

TRIP  
Their name... it's... uhm...

Trip looks at Reed.

REED  
Like a rabbit, Trip?

TRIP  
I was thinking more like a cheetah. NOW!

Reed and Trip take off at a run. They hear the two officers yell at them and run after the two. They quickly lose the officers but keep running.

CUT TO:

EXT. MARINA - LATER

Trip and Reed come out of an alley onto a street facing a marina. There is mostly sail boats but some are motorized. No speedboats.

REED  
Maybe we should try another  
course of action, Trip.

TRIP  
Such as?

REED  
Anything. This isn't working.

Trip crosses the street and leans on the fence guarding the marina docks.

REED  
Are you listening?

TRIP  
(distracted)  
I haven't been around a boat in a long time.

REED  
Trip, we don't have time for nostalgia.

Trip stands for a couple minutes longer. In the background someone is calling 'Kolin.'

TRIP  
Let's go.

Trip turns. He is enveloped by a pair of arms and drawn into a passionate and loving kiss by Amaly. Trip tries to pull away but the woman has a death grip on him. She pulls back, her smile reflecting her love.

AMALY  
Guess what I did while you were  
getting parts, Kolin? I went  
downtown and picked up that  
little black nightie you were  
drooling over yesterday. I'm  
wearing it right now. Want to see  
me out of it?

Trip stares at her. She smiles, bitting down on her lip as she waits for an answer.

AMALY  
Well? Don't you, Kolin? I'll play  
captive and you can play pirate.

TRIP  
I'm not Kolin. You just keep your nightie on.

AMALY  
(laughs)  
Kolin! You've been bugging me to get it.

TRIP  
I ain't Kolin!

Amaly pulls her head back, looking amused.

AMALY  
Okay, you're not Kolin. Are you  
my kidnapper then? Come to steal  
me away? And why'd you shave your  
beard, honey? Part of your disguise?

TRIP  
(more insistent)  
Lady, I'm not Kolin! Let go of me.

Trip grabs her arms and pushes her away. Amaly looks hurt.

REED  
With our luck, he's probably your  
evil twin too. Course, she  
doesn't appear to be Cutler's  
evil twin, so perhaps there is hope.

Amaly notices Reed for the first time. Her expression turns to horror.

AMALY  
(angry)  
WHAT are you doing with him,  
Kolin? ARE YOU CRAZY?

Trip is confused.

REED  
(angrily)  
What about me?

AMALY  
BASTARD!

Amaly rips off her hat and starts beating Reed with it. Reed does his best to fend off the hat beating. Amaly stops and spins back to face Trip.

AMALY  
This bohunk is trying to kill  
everyone, Kolin! Kolin, what did  
you do? WHAT did you do? You  
promised me, Kolin.  
(begins crying)  
You PROMISED me that there would  
be no more illegal or government  
jobs. You PROMISED!

Amaly falls against Trip in sobs. He catches her.

TRIP  
Listen, lady...

Trip pushes Amaly back, looking in her eyes.

TRIP  
Look, I'm sorry you don't like my  
friend here, but I ain't Kolin  
and he's not trying to kill  
anyone. Okay? Please, stop crying.

AMALY  
You're my husband! I trusted you!

TRIP  
I am not your husband, lady,  
so you can still trust him,  
whoever he is.

KOLIN (O.S.)  
Amaly.

The three turn. Kolin is standing with his hands in his pants pockets, his shirt isn't buttoned all the way, his tie is pulled lose, and he's tilted his hat to shade his eyes. His jacket is draped in the crook his hand makes with his pants.

Amaly pulls away from Trip, looking at one and then the other.

Kolin steps close to Amaly, holding her until her tears stop. He smiles when she looks at him, his fingers tenderly caressing her face.

KOLIN  
Amy, I haven't taken any illegal  
or government jobs. I haven't  
broken my promise to you, angel.  
I would never break a promise to  
you. Don't you know that?

Amaly smiles, closing her eyes as he kisses her forehead.

KOLIN  
I love you, angel.

Amaly looks at Reed.

AMALY  
Admiral Vignand--

KOLIN  
That's not Admiral Vignand, darling.

AMALY  
But--

KOLIN  
Angel, that ain't Admiral  
Vignand. I swear that to you.

AMALY  
He looks just like him.

KOLIN  
I know, but he's not. Why don't  
you go on back and start supper,  
okay? Make enough for four.

AMALY  
Kolin, you can't be serious! If  
we're seen with him we'll be shot!

KOLIN  
Amaly, please, do as I'm asking. Please.

Amaly stares at Kolin for a few seconds and then nods. Kolin smiles, watching her walk away. He looks back at Trip and Reed.

KOLIN  
Dames! They can drive a man to  
drinkin', can't they? But then,  
what would life be without 'em?

TRIP  
Boring and awkward.

KOLIN  
(offering his hand)  
Kolin Jasp.

TRIP  
Charles Tucker.

KOLIN  
(to Reed)  
And since I know you aren't  
Admiral Vignand, who you are?

REED  
Malcolm Reed.

KOLIN  
So, tell me, fellas, how long is  
that contraption of yours going  
to hang out up there?

Kolin looks up at the sky and then back at them. Neither man answer. Kolin smiles.

KOLIN  
See, I know you two fellas are  
aliens cuz I've done some tradin'  
with a few. Course, they didn't  
look like me or you fellas. They  
were short. Big ears; big bald  
heads. Anyway, got this device  
that has kept me out of some  
rough waters and avoidin' pirates  
when I've shipped goods. Other  
day, that little thing went crazy  
on me. Started shootin' stuff out  
and pretty soon I figured it out.  
It was trackin' something big and  
then it started showing blips that  
were locations near here. So this  
time I went to check one out and  
saw you two appear outta thin air.  
And then you two went on the lam  
and ended up here. Never saw you  
two fella's face until now.  
(to Trip)  
Have to say this is a might different.

TRIP  
Very. Other aliens have visited here?

REED  
Commander!

TRIP  
He already knows, Malcolm. And we need help.

KOLIN  
Help with what?

TRIP  
I'd rather not talk about it out here.

KOLIN  
Yeah. Probably ought not to. What  
with your friend here lookin'  
like Admiral Vignand and all.  
Hate for him to accidentally end up  
dead. Let's have some supper and  
talk about it.

TRIP  
Does Amaly know... that you're  
race is not alone?

KOLIN  
No. She's innocent. Maybe I  
shouldn't do it, but I protect  
her from the bad things in life where I can.

Kolin starts walking down the sidewalk toward a gate.

KOLIN  
This way.

Trip follows. Reed catches up and stops him.

REED  
You can't seriously be considering  
going with this man!

TRIP  
Malcolm, do you or don't you have  
a better idea right now?

Reed is at loss of an answer.

TRIP  
Me neither. So we'll go with  
Kolin here and see if he's  
trustworthy enough to help, okay?

REED  
Sir, I really don't think T'Pol  
would approve of this.

TRIP  
Well T'Pol ain't here, Malcolm! I am!

REED  
(sarcastically)  
And now it's come down to rank?

TRIP  
No, Malcolm. It's come down to I  
want our Captain and crew back  
and the longer they're here the  
more likely they'll be exposed  
for who they really are. Or be  
seriously mistaken for who they  
aren't and end up dead.

KOLIN  
You comin'?

Trip glances in Kolin's direction.

REED  
I just hope he's not like the  
other twins we've encountered.

TRIP  
(smiles)  
After how he treated his woman  
just now, I don't think he's  
anywhere near it. Come on.

Reed reluctantly follows Trip.

CUT TO:

END OF ACT FOUR


	6. Act Five

ACT FIVE

FADE IN:

INT. SWANK DINING ROOM - DAY

Archer has a typed paper itinerary in his hand. There are a total of twelve people sitting at the table, including Novakovich, Arlo, Darik, and Cevin.

They are watching Archer, waiting for him to speak. Jisyca can be seen through the door lounging in the foyer on a lounge chair, smoking a cigarette and flipping through a magazine.

ARLO  
(irritated)  
So, what's the first order of  
business today, Boss?

Archer looks at the speaker, glances at the faces, and looks back at the paper. We can see that the first item on the list is 'SCRUB SERGEANT TARIOK - 1PM'

ARCHER  
Well, uhm...

Archer runs his finger down the list. There are about half a dozen things listed, most of them murders. The last thing on the list is 'TOY SHIPMENT - 10:30PM'.

ARCHER  
We should probably talk about the  
arms shipment coming in tonight.

ARLO  
It's a heavy sugar job, Boss, since you told ol' Vignand he had  
to give you half of the profits  
of every job on our turf. This  
score will have us sitting pretty  
for the next two years, easy.

DARIK  
Boss, you know... we've all been  
thinking... and to level  
whi'ch'ya, we all feel you've  
been acting a bit, well, off  
since we picked you up at the wharf yesterday.

Archer looks at Darik and the man grows increasingly nervous.

DARIK  
It's just that Colburt ain't an  
easy man to deal with in the  
first place, but you go in there  
acting all balled up like you've  
been an' the deal's sure to sour  
fast, Boss. Don't get me wrong,  
Boss, 'cause we all know you  
knows your onions, but mayhap ya  
oughta give it a few more days  
until you sort things out up top.  
Let Jisyca and us handle this  
one. That's... that's all I'm saying, Boss.

Archer's lack of response causes increasing tension in the room. Jisyca stands and comes to the door.

ARCHER  
Did Jisyca put you up to this, Darik?

DARIK  
No, Boss. This is on the level.  
We boys've been talkin' about  
this and we really think her and  
us oughta handle this. It's too  
big to get futzed up by a little  
smack on the head, Boss. That's all.

ARCHER  
How big is this shipment?

DARIK  
Real big, Boss. We'll be  
supplying the area with guns for  
the next year, maybe two, on it.  
It's going to give us a nice lump of scratch.

ARCHER  
How big of a lump?

DARIK  
Big enough we'll be on easy  
street for two years, Boss.

ARCHER  
Where are these arms coming from  
and who's the buyer? I can't seem to remember.

DARIK  
They're coming from the north  
Province. Military issue. You set  
up the whole thing before you got  
your head whacked.

ARCHER  
Did I agree to meet with... Who's Colburt?

DARIK  
Fella bringing the shipment.

ARCHER  
How long has Colburt been  
supplying us with weapons?

DARIK  
We've had a decent trade for  
about five years with him.

ARCHER  
Maybe it would be best if Jisyca  
handled this. And this is happening where?

DARIK  
Pier nineteen. The boat's  
'Acquilus'. We can send Arlo and  
Cevin with Jisyca.

Archer glances at Cevin, shaking his head.

ARCHER  
No. Not Cevin.

CEVIN  
But Boss--

ARCHER  
You don't have enough experience, Cevin. No.

JISYCA  
He has the experience, Haeri.  
He'll be fine. You know how to  
use that gun, don't you, Cevin?

CEVIN  
Yes, ma'am. I'll watch out for her, Boss.

ARCHER  
Fine. But if he goes, you all go.  
I may have amnesia, but I have a  
bad feeling about this.

JISYCA  
Don't worry, baby. I won't let you down.

Archer looks up at Jisyca, showing open distrust of her.

DARIK  
And what about the rest of today, Boss?

ARCHER  
I'm not feeling up to anything  
else today, boys.

DARIK  
We can handle the rest. Just tell  
who you'd like to handle what.  
We'll round up our outside boys  
and take care of things.

ARCHER  
(forced smile)  
And make me miss all the fun? Not  
a chance. Put everything off for  
a day or two.

Archer rises from his chair.

ARCHER  
Nathan and I have matters to  
discuss in private this morning. Nathan.

Archer and Novakovich depart.

CUT TO:

EXT. SWANK'S GARDEN - MOMENTS LATER

Archer and Novakovich exit the house and stroll to a pair of facing benches in the garden. Archer sits down on one, watching Novakovich sit down across from him.

ARCHER  
How's the communicator coming, Nathan?

NOVAKOVICH  
I've almost got it, Boss,  
(grimaces)  
I mean sir.

ARCHER  
(smiles)  
You're going to go around calling  
me Boss for the next week when we  
get back, aren't you?

NOVAKOVICH  
Most likely, sir. I think it's a  
side effect of all this.

Archer rubs his face.

ARCHER  
Of all the roles I've fallen  
into, this has to be the worst  
one, Nathan. Hurry and get it  
fixed. After tonight, we'd better  
not be here.

NOVAKOVICH  
Why? What are you going to do?

ARCHER  
I'm going to break my rule about  
interfering with alien cultures  
tonight, Nathan.

NOVAKOVICH  
If it's to keep those guns off  
the streets, I'm behind you, sir.

Novakovich returns to the house. Archer reclines back on the bench, looking skyward.

CUT TO:

INT. GALLEY OF KOLIN'S BOAT - DAY

Trip leans back in his chair. He stretches and places his hands on his stomach with a satisfied grin.

TRIP  
Mrs. Jasp, that was delicious.

Amaly is sitting on a the bench behind the table, curled up next to Kolin who's still eating. She has her arm draped around his shoulder and with her other is playing with a necklace she's wearing. She's dressed in a bathing suit and a wrap skirt.

AMALY  
Thank you, Trip. The fact that  
you and my husband both love  
pan-fried catfish is strange though.

TRIP  
Not strange, Amaly. Science. It  
all comes down to science.

Amaly laughs. She stands up on the bench and walks over Kolin and Reed to get out. She pulls the skirt off as she walks toward the stairs leading topside.

AMALY  
I'm going for a swim, Kolin. I'll  
clean up later.

Reed leans out a little, watching Amaly as the skirt drops and she starts up the stairs.

KOLIN  
I'll get 'em, Amy. Be careful.

AMALY  
(laughing)  
Yes, daddy!

Kolin watching Reed watch his wife. Kolin grins and snaps his fingers in front of Reed's face. Reed looks at him.

KOLIN  
She has a nice chassis, doesn't she?

REED  
I beg your pardon?

KOLIN  
My wife. She has nice curves, huh?

Reed is embarrassed.

REED  
I apologize. I didn't mean--

KOLIN  
No apologies! I take it as a  
sincere compliment when men watch  
my Amaly. I only break arms when  
they start tryin' to move in on 'er.

The men laugh.

TRIP  
Look, Kolin, we have--

Trip's communicator beeps. Trip looks down. Kolin continues eating. The communicator beeps again. Trip picks up his glass and drinks some. The communicator beeps again.

KOLIN  
You gonna answer that thing or  
let it ring again?

Trip waits until it beeps again. He pulls it out of his pocket and flicks it open.

TRIP  
Trip here.

T'POL'S COM VOICE  
You were instructed to report in  
four hours ago, Commander, and  
have not responded to hails. What is happening?

TRIP  
We... got sidetracked.

Reed and Kolin laugh.

T'POL'S COM VOICE  
Have you found our crewmen?

TRIP  
Not exactly.

T'POL'S COM VOICE  
Explain, Commander.

KOLIN  
Mmmm. Commander is it?

T'POL'S COM VOICE  
Commander.

KOLIN  
The lady's callin', Trip, and she  
sounds pretty insistent too.

TRIP  
I ran into myself, T'Pol.

Reed and Kolin laugh again.

T'POL'S COM VOICE  
How did you run into yourself?

TRIP  
Well... I have a twin. He's  
sitting right here. He knows  
about Enterprise, he found us  
when we transported down. He has  
resources and he's agreed to help us.

T'POL'S COM VOICE  
Were my instructions to have  
minimal contact with these people unclear?

KOLIN  
Is she always such a bearcat?

Kolin snatches the communicator from Trip before he can respond to either T'POL or Kolin.

KOLIN  
Listen, sister, we have some  
things to gab about here. See, I  
know that Haeri Two Scars is dead  
because I know the supplier that  
gave the grieving widow the  
package she used to blow her  
husband to bits. That's how I  
know that fella they say is him,  
ain't him. And after seeing my  
identical self appear out of the  
air, I know there's some alien  
bushwa going on here. So let's  
talk shop and the exchangin'a  
goods, darlin'. Assuming that  
you're the one in charge up  
there, sweetness.

Trip closes his eyes, looking worried.

T'POL'S COM VOICE  
My name is T'Pol. Not sister. Not  
darling. Not sweetness.

KOLIN  
(to Trip)  
Testy, ain't she?

REED  
(very quietly)  
She gets that way.

KOLIN  
Fine. T'Pol it is. So here's the  
skinny on how this all goes down.  
I'm comin' up there with these  
two fellas and blueprints of the  
Haeri Swank pad. I've already  
sent out some people to scout  
around for your missing ladies.

T'POL'S COM VOICE  
And what do you desire in  
exchange for your services?

KOLIN  
We'll talk about that before you  
send me back. I trust myself.

Kolin winks at Trip

T'POL'S COM VOICE  
I must know what you want as  
compensation in exchange for your  
services before I--

KOLIN  
(annoyed)  
Sister, listen to me really  
close. Your Captain is currently  
in a really big house with a high  
voltage fence surrounding it,  
lotsa fellas with lotsa guns and  
a dame that's out to kill him.  
You really think this is the time to argue?

There is a silence.

T'POL'S COM VOICE  
We have a lock on your location.  
Preparing to transport.

KOLIN  
No. Wai--

Kolin disappears. Trip and Reed stand up to be transported. Reed grabs rolled up blueprints from the counter seconds before he is transported.

Amaly, dripping wet, comes jogging down the stairs.

AMALY  
Kolin, ca--

Amaly stares at the empty galley.

CUT TO:

INT. TRANSPORTER - MOMENTS LATER

Kolin slowly unfolds to a standing position, staring at T'Pol and two security guards.

T'POL  
Please step off the transporter.  
We have to transport Commander  
Tucker and Lieutenant Reed.

Kolin steps down, looking at the parts of Enterprise that he can see in shocked amazement. He hears the transporter activate behind him and turns, watching Trip and then Reed appear.

TRIP  
This is T'Pol, Kolin.

Kolin looks back at T'POL. He extends his hand and T'Pol shakes his hand. He stops when he notices her ears.

KOLIN  
You have pointed ears.

T'POL  
All Vulcans do.

KOLIN  
Damn! You really are an alien!

T'POL  
As you stated, we should hurry.  
Please, follow me.

T'POL turns and starts down the hall. Kolin falls into stride with Trip.

KOLIN  
She's not much on personality, is she?

Trip smiles and says nothing.

CUT TO:

END OF ACT FIVE


	7. Act Six

ACT SIX

FADE IN:

INT. WAREHOUSE - DAY

Hoshi is sitting in an uncomfortable arm chair. Jacque is using thin wire to bind Hoshi's wrists to the arms and the wire is cutting into Hoshi's skin.

Jacque finishes and walks away. Bright lights are turned on and Hoshi closes her eyes. She HEARS footsteps approaching and a hand runs down Hoshi's cheek. She turns her head away.

VIGNAND (O.S.)  
Hoshi, is it?

Hoshi doesn't reply. The hand snaps around Hoshi's throat and she feels a bearded cheek against hers.

VIGNAND (O.S.)  
Answer me.

Hoshi tightens her jaw. The hand lets go and she HEARS footsteps began to circle her. She keeps her eyes closed.

VIGNAND (O.S.)  
So, you work for Haeri Two Scars.  
That could prove profitable.

HOSHI  
His name is not Haeri Two Scars.

VIGNAND (O.S.)  
Oh that's right! Changed it to  
Jonathan Archer. At least he's  
getting original.

Hoshi looks down at her wrists, flattening them on the chair arms.

VIGNAND (O.S.)  
Cuts hurt? I could tend to them  
if you told me what I wanted to know, Hoshi.

Hoshi dips her chin to her chest. She hears a chair drug across the cement and sat down in front of her. She looks up into Vignand's eyes.

This is the first time Hoshi has ever seen Admiral Luc Vignand and her face reflects shock at seeing Reed's face. Vignand leans forward, meeting Hoshi's gaze.

VIGNAND  
How did they find you? I've heard  
the saying that everyone has a  
twin, but to find one that is in  
all respects, down to birthmarks,  
identical and speaking the same  
language is amazing. Perhaps  
there's more to the Tribunal  
government than even their most trusted know?

Hoshi doesn't offer a reply. Vignand pulls Hoshi's communicator out of his pocket, holding it up.

VIGNAND  
Tell me about this device, Hoshi.

Hoshi says nothing. Vignand smiles.

VIGNAND  
(leaning in)  
Perhaps we should activate it.  
What do you say?

Hoshi keeps silent.

VIGNAND  
We did figure out how to activate  
it. Apparently it is a  
communication device. So... Let's  
do it. Let's see if there is  
someone on the other end waiting  
in anticipation to hear from Hoshi.

Hoshi looks at the communicator as he opens it. There is a silence.

VIGNAND  
Well, I guess there isn't anyone  
there. They abandon you. You're  
of no use to us then. You'll have to die.

TRIP'S COM VOICE  
(abnormally dark)  
You have someone that belongs to me.

Vignand winks at Hoshi as he lifts the communicator to his mouth.

VIGNAND  
And you would be?

TRIP'S COM VOICE  
Someone who wants his friend back.

VIGNAND  
So we've gone from someone who  
belongs to you to your friend?

TRIP'S COM VOICE  
Both and neither. What do you want?

VIGNAND  
Do you think I'm a patient man?

TRIP'S COM VOICE  
I want my friend back!

Vignand stands, draws his gun and shoots over Hoshi's shoulder. Hoshi cringes but keeps silent.

VIGNAND  
Where do you think the next  
bullet is going to go? Because,  
frankly, it saddens me that I  
actually missed her head that time.

Vignand steps forward, pressing the barrel end against Hoshi's forehead. Hoshi closes her eyes tight.

VIGNAND  
So let's not be stubborn about  
this, shall we?

TRIP'S COM VOICE  
(force calm)  
What do you want?

VIGNAND  
Do you know who you're talking to?

TRIP'S COM VOICE  
No, but I bet you're going to tell me.

VIGNAND  
Admiral Luc Vignand, and I am not  
a patient man. I'd like you to  
listen to something.

Vignand puts the communicator next to the gun as he cocks it. He lifts the communicator back to his lips.

VIGNAND  
What do you think the next sound  
is going to be?

TRIP'S COM VOICE  
(defeated)  
I'm Charles Tucker. The woman you  
have is my friend and she works  
for me. We were at the parade  
together when everything went to  
hell and we became separated.  
She's not from this area.

VIGNAND  
What kind of work do you do, Mister Tucker?

TRIP'S COM VOICE  
Trade.

VIGNAND  
Trade? That's a risky business.  
So why were you, she, and the  
other pretty thing with a dead  
gangster boss?

TRIP'S COM VOICE  
We weren't with Haeri Two Scars.  
I know that's who think he is,  
but it's not. He just looks like him.

VIGNAND  
That's not what my employee reported.

TRIP'S COM VOICE  
Your employee is wrong. What do you want?

VIGNAND  
I want to know why you were  
talking to a dead man. I want to  
know what this device is that  
we're talking on. I want to know  
who you really are.

There is silence.

VIGNAND  
Time's up!

TRIP'S COM VOICE  
WAIT. Wait. He escaped the  
bombing. I helped him escape  
because he knew about it. My  
employees and I were paid a lot  
to do it. I have a communications  
genius working for me and he  
invented the communication  
devices. I work in trade and my  
real name is Charles Tucker.

VIGNAND  
There. That wasn't so hard, now  
was it? So let's trade. Your  
ladies for the schematics on this  
communications device.

TRIP'S COM VOICE  
Okay. Fine.

VIGNAND  
Good. Meet us in the deli on  
Ardiken. You'll find someone who  
looks just like Hoshi. She will  
take the schematics.

TRIP'S COM VOICE  
No. No go. I want my ladies  
there. Straight across the board  
trade. I get the ladies, you get  
the schematics.

VIGNAND  
You're bartering with a gun to  
your employee's head? How brass!

TRIP'S COM VOICE  
If they aren't there, I will  
light up the block, Vignand.

VIGNAND  
You would kill your employees?

TRIP'S COM VOICE  
I don't trust you. This or  
nothing. And if you kill them, I  
will find you and personally kill you.

VIGNAND  
A man of style. Don't see many of  
those these days, Mister Tucker.  
We have a deal. At one o'clock.

Vignand snaps the communicator closed. He holsters his gun, lowering down so he meets Hoshi's gaze.

VIGNAND  
You're employer pissed me off. If  
you pray, Miss Hoshi, now would  
be the time to start. But I don't  
want you to think I'm completely unfeeling.

Vignand grabs Hoshi's chin and kisses her. She yanks away when he lets go and spits in his face. He stands, wiping it off with a smile. Vignand turns and walks away.

Hoshi closes her eyes as tears began rolling down her cheeks. Jacque and Orela walk up, untie Hoshi and lead her into a room lit with one, dim, bare light bulb.

Cutler is sitting on the floor with her hands and ankles in cuffs and chained to a bar running along the bottom of the room. The two women put Hoshi in cuffs and chains and leave. Hoshi closes her eyes, collecting herself.

CUTLER  
Did the hurt you?

HOSHI  
No.

CUTLER  
I heard a gunshot.

HOSHI  
He was trying to scare Trip into  
giving him schematics on the communicator.

CUTLER  
Is he?

HOSHI  
(looks at Cutler)  
Is he what?

CUTLER  
Is Trip giving him the schematics?

HOSHI  
He said he would. This Admiral  
Vignand plans on killing him and us anyway.

CUTLER  
(quiet)  
Oh.

Beat.

CUTLER  
I'm scared.

HOSHI  
Me too.

CUTLER  
(smiles)  
Know what I was thinking about  
before you were brought in here?

HOSHI  
Uh-uh. What?

CUTLER  
I nice big bowl of marble ice  
cream with caramel syrup and whipped cream.

HOSHI  
(smiles)  
I wouldn't mind a piece of black forest cake.

CUTLER  
How about warm chocolate chip cookies.

HOSHI  
Oh yeah. With a big glass of cold milk.

CUTLER  
Or hot chocolate.

The two women chuckle lightly and then their humor dissipates.

HOSHI  
Liz?

CUTLER  
Yeah?

HOSHI  
Thank you.

CUTLER  
For what?

HOSHI  
I needed a bit of laughter to get a grip.

CUTLER  
Any time.

The two fall silent.

CUT TO:

INT. SWANK KITCHEN - DAY

Archer pulls a plate of roast beef left overs out of the refrigerator. He turns, running into Jisyca. He walks around her to the counter and begins making a roast beef sandwich. Jisyca follows him across the kitchen.

JISYCA  
What'ch'a doin' Haeri?

ARCHER  
I skipped lunch.

Jisyca sidles up to him, reaches across and pulls a glass from a cupboard. Archer moves a side step when she gets too close to him. Jisyca holds the glass in both hands, watching Archer's face.

JISYCA  
A glass of tea, Haeri?

ARCHER  
I can get it. Thanks.

Jisyca sets the glass aside and slips between the counter and Archer. Archer drops what he's doing, stepping back. Jisyca wraps her arms around his neck, pulling close to him. Archer grabs her arms and holds them so she can't pull any closer.

ARCHER  
What to you want, Jisyca?

Jisyca pulls one arm free and begins to unbutton his shirt. Archer grabs her hands and retreats several steps. Jisyca pulls one arm behind her back with her opposite hand.

JISYCA  
You've had a long day, baby. Why  
don't you go into the parlor?  
I'll finish this up and bring it to you.

ARCHER  
No thank you.

Archer steps around her and goes back to making his sandwich. Jisyca moves close to him again, wrapping one arm around him. She picks up a piece of roast beef and lifts it to Archer's lips.

He freezes, looking down at her for a tense moment. Jisyca shrugs and pops the piece in her mouth, seductively licking her fingers. Archer turns to leave.

Jisyca moves in front of him. He tries to sidestep around her and she follows like an excellent dance partner. She slides her arms around his neck, pulling herself up to him. Archer grabs her arms and pulls them away.

ARCHER  
WHAT do you want, Jisyca?

JISYCA  
You, baby. You should at least  
have your desert, baby. You  
haven't had it for such a long time.

Archer pushes her away and walks out of the kitchen.

CUT TO:

INT. SWANK PARLOR

Archer walks to a couch and sits down, slouching on it. He is frustrated, angry and tired all at the same time. He sighs, laying his head back against the couch. Jisyca walks in carrying a plate with his sandwich and a glass of tea.

JISYCA  
Here, baby.

Archer takes the plate and glass, watching her sit down beside him. Archer sits back and sets the glass on the floor. He picks up the sandwich and takes a bite out of it. He freezes when Jisyca moves close, curling up at his side. Archer swallows the bite in his mouth.

JISYCA  
I think the shipment will go fine  
tonight, Haeri. Especially now.

Archer takes another bite so he doesn't have to respond.

JISYCA  
Don't you think, baby?

Archer shrugs.

JISYCA  
You're worried. I can see that.  
Are you worried?

ARCHER  
Maybe.

JISYCA  
Maybe?

ARCHER  
The cop turned on us, right?  
Who's to say there isn't another  
turncoat? Especially if they  
catch wind of how big this shipment is.

JISYCA  
Who do you think might turn on us, baby?

ARCHER  
I dunno.

Archer takes another bite of his sandwich so he has an excuse to stop talking. He picks up the glass of tea and drinks half of it. Jisyca reaches out and runs her fingers through his hair.

He rises to his feet. The world swirls, he loses his balance, and falls back on the couch. Archer tries to fend off Jisyca when she moves to straddle his lap and leans close to his face, but his limbs aren't working for him.

JISYCA  
I think I know exactly who would  
turn us in. You, Haeri. So you  
just stay here, sleep, relax.  
When I come back with the boys,  
I'll make sure we never have to  
worry about this again.

He turns his head when she tries to kiss him. Jisyca catch his jaw, turns his head back and kisses him. She gets up and walks away. Archer passes out.

CUT TO:

INT. SITUATION ROOMATER

Kolin, Reed, T'Pol, and Mayweather are standing around the console that has paper map stacked on it.

KOLIN  
This is the deli right here. My  
people are gonna get the radar  
taken out here in an hour so you  
can get your people set up  
tonight. Vignand's soldiers love  
to kill, so we need to be in  
place before they are.

TRIP  
Alright. Travis, get down there  
and inform the teams. Malcolm, go  
wait at the transporter.

REED  
Aye, sir.

MAYWEATHER  
Aye, sir.

Kolin picks up the top map and switches it out for the second one.

KOLIN  
This is the Swank pad. Twenty-two  
oh three Sarw Way. It's big,  
impressive, formidable and  
guarded like Fort Erel.

TRIP  
Fort Erel?

KOLIN  
That's where the south Province  
treasure is held. Someday I may  
break in there and retire for  
life, if I make it out alive.

Trip chuckles. Kolin looks at T'POL.

KOLIN  
So you have a plan on getting  
past the power grid on the fences  
and the cameras?

T'POL  
Yes. We can--

TRIP  
Yes. They have it planned.

On the bridge behind them Ensign Shipper turns from his controls.

SHIPPER  
Commander, Sub-Commander, we're  
being hailed from the surface.  
It's coming in on a Starfleet  
channel, but there isn't a  
locator signal on it.

TRIP  
Is it Vignand?

KOLIN  
Doubt it.

T'POL  
His had a locator signal on it.  
Open the channel, Ensign.  
(beat)  
This is T'Pol.

NOVAKOVICH'S COM VOICE  
T'Pol, your voice is music to my ears!

T'POL  
What is your situation, Ensign?  
Is Captain Archer still with you?

NOVAKOVICH'S COM VOICE  
The situation's stable, for now.  
The Captain's here. Can you patch  
me back to Doctor Phlox?

T'POL  
For what purpose?

NOVAKOVICH'S COM VOICE  
Captain Archer's been drugged I  
think. I have to wake him up  
before the psycho bitch from hell  
returns to finish us off.

T'Pol and the men depart the situation room.

CUT TO:

END OF ACT SIX


	8. Act Seven

ACT SEVEN

INT. SWANK PARLOR

Water hits Archer's face and he sits up with a gasp. Archer looks around him, trying to get his bearings.

NOVAKOVICH (O.S.)  
Worked like a charm, Doctor  
Phlox. Thanks  
(steps into Archer's line of sight)  
I'm sorry about that, sir. You  
were drugged and Doctor Phlox  
said splashing you with water  
might wake you. Everything else I  
tried wasn't working.

ARCHER  
Jisyca drugged me. Did Doctor...  
(looks at communicator)  
You fixed the communicator?

NOVAKOVICH  
Yes, sir. Sub-Commander T'Pol is  
standing by for you, sir.

ARCHER  
(looks up at Nathan )  
Is there anyone else here?

NOVAKOVICH  
No. It's just you and I. They  
locked me in my room and I had to  
break it down.

Archer gets up and walks over to a communicator console along the wall of the parlor.

NOVAKOVICH  
What are you doing, sir?

ARCHER  
Gotta make a phone call.

Archer reaches out and touches the screen. An operator appears on the screen.

Operator

Shorefront Police Department.  
State your emergency?

ARCHER  
This is an emergency. There is an  
arms shipment deal going at pier  
nineteen on the boat Acquilus.  
Send officers there immediately  
and warn them that everyone is armed.

Archer discontinues the call before the operator replies. He holds his hand out for Novakovich's communicator and holds it up to his mouth.

ARCHER  
T'Pol?

T'POL  
Yes, Captain?

ARCHER  
I think so. Can you get a  
transporter lock on us?

T'POL  
No. Your communicator is not  
transmitting a location signal.

ARCHER  
Do you have any way to locate us,  
T'Pol? We have to get out of here  
before they get back.

T'POL  
We do have the location of the  
house you are in and have already  
prepared to retrieve you and Ensign Novakovich.

ARCHER  
Fine, just get us out of here fast, T'Pol.

T'POL  
We will be there to retrieve you  
shortly. T'Pol out.

Archer flicks the communicator shut.

NOVAKOVICH  
Now we wait?

ARCHER  
Now we wait.

Archer sits down on the arm of a chair to wait.

CUT TO:

EXT. PERIMTER OF SWANK RESIDENCE - NIGHT

Reed and T'Pol appeared behind a house. T'Pol flicks open her communicator.

T'POL  
T'Pol to Archer.

There is a pause before Archer replied.

ARCHER  
Archer here.

T'POL  
We are about to disengage the  
electric fence. Stand by.

T'Pol and Reed walk around the house and Reed places devices near the fence. T'Pol looks up when headlights swing into the drive.

The car speeds up the drive and comes to a screeching halt at the front steps. They could hear the car door slam and see a figure running toward the front door.

T'POL  
A car has just pulled into the drive, Captain.

Beat.

ARCHER  
It's Jisyca. Hurry up you two!

Reed initiates the devices and it quietly beeps twice. The two scaled the fence, dropping onto the opposite side. They crouch down behind some brush, watching the house. T'Pol flicks open her communicator.

T'POL  
T'Pol to Archer.

There is no reply.

T'POL  
T'Pol to Archer. Respond.

Again she receives no reply. A gunshot breaks the silence. T'Pol and Reed sprint toward the house.

INT. SWANK FOYER - MOMENTS EARLIER

Jisyca runs through the front door, gun in hand, blood spattered and streaked down her body and clothes. She stops, looking around.

In the parlor door, two doors down, Archer steps into view. He is holding an open communicator in his hand. Jisyca spots him.

JISYCA  
HAERI SWANK! YOU ARE A DEAD MAN!

Jisyca aims her gun and fires. Archer jumps back into the parlor and the bullet hits the door frame. Jisyca pursues.

INT. SWANK PARLOR

Archer turns, watching Jisyca storm in and aim at him. Jisyca suddenly changes aim to Novakovich and shoots. The bullet hits Novakovich in the arm and he falls. He gets back to his feet, holding the bleeding wound.

T'POL'S COM VOICE  
T'Pol to Archer.

Jisyca takes aim at Novakovich and Archer moves in front of Novakovich.

ARCHER  
Jisyca, I can explain.

JISYCA  
(fuming)  
Do you think I'm a dumb Dora or  
somethin', Haeri? You snitched, Haeri.  
(cocks gun)  
I shoulda just done this the first time.

ARCHER  
NO! WAIT Jisyca. I am not your husband.

T'POL'S COM VOICE  
T'Pol to Archer. Respond.

JISYCA  
And I'm not your wife. Is that it, Haeri?

ARCHER  
Exactly.

Archer and Novakovich move in separate directions when the gun goes off. The bullet hits an item and it breaks.

The communicator Archer was holding flies from his hand and slides to a stop at Jisyca's feet. She stomps the heel of her shoe on it, smashing it to pieces. Archer scrambles to his feet.

ARCHER  
Jisyca, I am not Haeri Two Scars.  
My name is Jonathan Archer. I'm  
not from here. Haven't you  
wondered why I've been acting so  
strange for the last two days?  
Would your Haeri two scars order  
his men not to kill someone?  
Would your Haeri Two Scars turn  
on his own men and wife?

JISYCA  
He's been known to and yes.

ARCHER  
Bad example. Jisyca, would I ever  
forget our children's names?

JISYCA  
(smirk)  
Well, if you aren't Haeri, all  
the more reason to kill you

Jisyca raises her gun and cocks it. Before she can fire a light bursts from behind her and a phase pistol stream hits her. She falls unconscious to the floor. Reed and T'Pol step over her, entering the room.

REED  
Did we come at a bad time, sir?

ARCHER  
On the contrary, your timing was impeccable.

T'POL helps Novakovich to his feet. She looks down at Jisyca and stares.

ARCHER  
What is it, T'Pol?

T'POL  
You did not mention Jisyca looked like me.

ARCHER  
We were in a hurry.

T'Pol lifts her chin.

T'POL  
She tried to kill you and Ensign Novakovich.

ARCHER  
Yes, we noticed. Can we go?

T'Pol looks at Archer.

T'POL  
I am now all the more grateful I am Vulcan.

ARCHER  
(smiles)  
Me, too, T'Pol. Me too.

T'Pol flips open her communicator.

T'POL  
T'Pol to Enterprise.

Shipper COM's VOICE

Enterprise here.

T'POL  
We have located the Captain and  
Ensign Novakovich. Inform  
Lieutenant Hess we are prepared  
to transport.

Shipper COM'S VOICE

Affirmative.

CUT TO:

INT. DELI - DAY

Trip, in disguise, enters the deli alone carrying only a rolled piece of paper. He spots Vignand, Jacque, Hoshi, Orela, and Cutler. Jacque and Orela are standing, Hoshi is sitting close to Vignand.

Trip walks up to the table. Vignand motions him to sit and places his hands under the table. Trip slowly obeys.

VIGNAND  
Charles Tucker, I assume.

Trip slowly nods.

VIGNAND  
Schematics.

TRIP  
Let the ladies walk. Then the schematics.

Vignand puts his arm around Hoshi. In his other hand he lifts a pistol, pressing it into Hoshi's side so Trip can see it but not the rest of the deli. Hoshi closes her eyes, swallowing back her fear. Trip looks down at the schematics in his hand, opening his mouth to speak.

ARCHER (O.S.)  
THIS ISN'T HALF!

Everyone turns to look at him. Archer storms up to the table. He's wearing a suit that looks the part of a mobster boss. Kolin, wearing a disguise as well, is following him and takes his coat when Archer hands it to him before sitting down next to Trip.

ARCHER  
(mobster-like accent)  
Our deal was half of every deal  
that goes down on my turf,  
Vignand. Remember that deal? You  
think that you can make a deal on  
my turf and I won't notice. I  
have eyes and ears everywhere,  
Vignand. Everywhere.

VIGNAND  
(amused)  
I was told you were dead, Haeri.  
And then you live. You'll have to  
share that secret with me some other time.

ARCHER  
The account of my recent death  
has been a result of perverse  
falsification from certain  
individuals seeking to claim my  
turf. You know what I'm thinkin', Vignand?

VIGNAND  
Do tell, Haeri.

ARCHER  
I think you were in on the plan  
to rub me out.

VIGNAND  
And why would I want to 'rub out'  
a business partner?

ARCHER  
I dunno. Why don't you enlighten  
me and my boy?  
(motions to Kolin)  
'Cause, Vignand, I am positively  
certain Jisyca didn't have enough  
smarts to come up with this one  
on her own. That dame is as dumb  
a Dora as they come.

VIGNAND  
Half the profits of all business  
transactions... did you really  
think I found that an acceptable deal?

ARCHER  
No one double crosses Haeri Two Scars.

Archer stands and yanks the rolled paper from Trip. Archer turns and walks away. Vignand knocks over his chair as he springs to his feet and aims his gun at Archer. Jacque and Orela book-end him, drawing their weapons as well.

The entire deli comes alive as people stand and reveal concealed weapons that they aim at Vignand, Orela and Jacque. Archer doesn't turn right away. He pulls a cigar from his pocket, lights it and fakes a puff. He turns his head, looking back at Vignand.

ARCHER  
You're soldiers, they're...  
(waves his hand at buildings outside)  
they're dead. My boys was waiting  
for 'em. See,  
(walks back to table)  
Charles here came to me yesterday  
with a no cost offer. Schematics  
for his girls. I saw it a very  
profitable bargain.

HOSHI  
Ca-- Haeri, there's a bomb set to  
go off in five minutes in the back.

Archer looks at her and then back at Vignand.

ARCHER  
Seems everyone's tryin' to bump  
me off. 'Nough to make a man paranoid!

He laughs and the other people laugh with him. They stop when Archer stops. Archer fakes another puff on his cigar, silent a moment.

VIGNAND  
Give me the schematics or the  
women die, Haeri.

ARCHER  
(looking around the deli)  
I don't think you have developed  
a full appreciation for the  
situation, Vignand. What do you  
think you got on me here?

VIGNAND  
The women.

ARCHER  
(scoffs)  
They ain't my, mols. I never  
promised I'd get 'em out alive.

TRIP  
What?

ARCHER  
What I promised was I'd even the  
odds. So if you kill these dames  
here, my people will drop you and  
your mols before you shoot off one  
(holds up one finger)  
round. Make the call, Vignand.

There is a short, tense silence. Vignand lowers his gun with his face tightening from anger and the desire of revenge. Jacque and Orela do the same.

ARCHER  
That's a very sensible decision.  
(stands)  
If I ever catch you doing  
business on my turf, I will kill you personally.

Hoshi and Cutler jump up and run to Trip. He hugs them. They turn and follow Archer toward the door. Hoshi stops and turns back to say something. Vignand raises his gun, aiming at Archer's back.

HOSHI  
CAPTAIN Archer!

Hoshi moves in front of Archer as the gun is fired. Archer turns, catching Hoshi when she falls back from the bullet's momentum.

Archer kneels on the floor with her. Blood is soaking through her shirt and jacket and staining Archer's clothes.

Several of the people draw phase pistols and stun Vignand, Jacque and Orela.

ARCHER  
(drops accent)  
Hoshi!

Hoshi closes her eyes, whispering something indiscernible before falling unconscious.

ARCHER  
God, no! Hoshi, stay with me. Trip.

TRIP  
Everyone back to the shuttle  
pods! We have to get the off the  
planet before the radar comes  
back on line. MOVE IT PEOPLE!

The other people run out of the deli to obey. Trip turns and kneels beside Archer. He opens his communicator.

TRIP  
T'Pol.

T'POL'S COM VOICE  
Go ahead.

TRIP  
We got a medical emergency. Can  
you lock on to the Captain's  
communicator signal?

T'POL'S COM VOICE  
Yes.

TRIP  
Can you transport him and Hoshi?

T'POL'S COM VOICE  
Yes. Move away.

Trip moves back to stand with Kolin, watching Archer and Hoshi disappear. Trip and Kolin run out of the deli. They reach the alley as the building explodes behind them.

FADE to white.

EXT. TROPICAL BEACH - DAY

In the background there's a house with large windows facing the ocean crashing down on the beach. Giant palm trees are blowing in the breeze. There's a female child laying on a blanket in the sand coloring.

Several drawings lay beside her already of a variety of subjects. Hoshi is standing on the beach looking at the house. She looks down at the child.

HOSHI's Mother (O.S.)  
Hoshi,

The child, a younger Hoshi, glances at the house but doesn't answer. Instead she returns to coloring.

HOSHI'S MOTHER  
Hoshi!

Young HOSHI  
Out here mama.

HOSHI'S MOTHER, a woman in her late thirties, comes out of a sliding door onto the deck. She's carrying a bowl of mixed fruit. She walks over to the blanket and lies on her stomach beside YOUNG Hoshi.

The woman picks up a piece of fruit and holds it in front of Young Hoshi's mouth. With a soft, playful growl, Young Hoshi snatches the fruit from her mother's hand and the two giggle.

Her mother picks up the drawings, looking at them. She sets them aside and looks at the one Young Hoshi is currently drawing.

HOSHI'S MOTHER  
And what is this?

YOUNG HOSHI  
It's the space ship they're  
building in America. Daddy says  
it'll go so fast that you  
wouldn't see it go by even if you  
were watching for it.

HOSHI'S MOTHER  
Oh. Do you want to go on a ship like that?

YOUNG HOSHI  
Maybe.

HOSHI'S MOTHER  
Sort of pointed, isn't it?

Young Hoshi smiles at her. Hoshi's Mother leans toward her and the two bump foreheads, giggling again.

ARCHER (V.O.)  
Hoshi.

Hoshi looks away from the two and out across the ocean.

ARCHER (V.O.)  
Ensign Sato.

CUT TO:

INT. SICKBAY

Hoshi opens her eyes, looking up at Archer. He's leaning against the bio-bed and smiling.

ARCHER  
Hi.

Hoshi smiles.

ARCHER  
How are you feeling?

HOSHI  
I hurt. Are we back on  
Enterprise, sir?

ARCHER  
Yes.

HOSHI  
Sir, with all due respect, if we  
ever go back to that planet again  
I will never forgive you.

Archer laughs, patting her hand.

ARCHER  
We just left orbit and never,  
ever again. I promise. Got  
something for you.

Archer leans over and produces a vase of flowers. He sets them on a stool beside the bed.

ARCHER  
Trips twin, Kolin, sent these  
before we left. He and his wife  
wish you well. And you keep  
taking bullets for me and you may  
end up going home a lieutenant.

HOSHI  
Oh. Well. In that case I'll have  
to get into more mischief, be  
more insubordinate, stuff like  
that, so I can stay an Ensign, sir.

ARCHER  
(laughs)  
Noted. Get some rest, Hoshi. I'll  
check in on you in the morning.

Archer turns to leave.

HOSHI  
Captain.

ARCHER  
(turning back)  
Yeah?

HOSHI  
I'd do it again in a heartbeat.

ARCHER  
Do what?

HOSHI  
Take a bullet for you. I'd do it  
for any friend of mine.

Archer is touched by her words. He walks back, taking her hand.

ARCHER  
I'm glad to know you did for your  
friend and not your captain. That  
means a lot, Hoshi. Get some rest

Archer squeezes her hand and leaves Sickbay. Hoshi looks at the flowers beside her bed.

FADE OUT.

END OF ACT SEVEN

**WGA # 912860  
**Written by A. Rhea King


End file.
